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[ "Ali Khamenei", "Leadership council proposal", "what did he propose?", "Various lists were proposed and Khamenei was named in all of them." ]	C_a2f43975a2fa421682c631d34e71caee_1	what were these lists?	2	what were the list proposed by Ali Khamenei at the Leadership council?	Ali Khamenei	Initially, the idea of leadership council was proposed by some members of Assembly of experts. Various lists were proposed and Khamenei was named in all of them. For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran. According to Rafsanjani, he and Khamenei were against the proposal while Ayatollah Haeri Shirazi and Ayatollah Ebrahim Amini were in favor of it. Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council, while the opposers believed that an individual leader was more efficient according to the past experiences in case of Judiciary council. Ebrahim Amini listed the summary of reasons presented by the two sides. According to him the opposers rejected the proposal because: i) Evidences for Guardianship of the Islamic Jurist were true only for the guardianship of an individual and it was not clear who held the guardianship when there was a council. Guardianship of a council was not rooted in Hadiths and Islamic jurisprudence. ii) Previous council type organizations such as broadcasting council and supreme judicial council were not successful in practice and leadership council would not do well for similar reasons. iii) People were accustomed to the leadership of an individual and a council of leaders was something unfamiliar to them. iv) An individual leader could act more decisive when dealing with critical and important decisions and solving problems and crisis. On the other hand, the supporters of the proposal believed that: i) At the time, there were no Faqih equal to Khomeini or even two or three levels lower than him so that he could fulfill the expectation of people. ii) In case of council of leaders, the members could compensate each other, if any of them had some shortage in a field. Finally, 45 members voted against the leadership council proposal while more than 20 people were in favor of it and the proposal was rejected. After the assembly rejected the idea of a Leadership Council, Khamenei was elected Leader by 60 of the 74 members present with Grand Ayatollah Mohammad-Reza Golpaygani receiving the remaining 14 votes. Though Khamenei opposed this and argued heavily against the decision, he eventually accepted it after debating with the mujtahids of the Assembly. CANNOTANSWER	For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran.	Sayyid Ali Hosseini Khamenei (, ; born 19 April 1939) is a Twelver Shia Marja' and the second and current supreme leader of Iran, in office since 1989. He was previously the third president of Iran from 1981 to 1989. Khamenei is the longest serving head of state in the Middle East, as well as the second-longest serving Iranian leader of the last century, after Shah Mohammad Reza Pahlavi. According to his official website, Khamenei was arrested six times before being sent into exile for three years during Mohammad Reza Pahlavi's reign. After the Iranian revolution overthrowing the shah, he was the target of an attempted assassination in June 1981 that paralysed his right arm. Khamenei was one of Iran's leaders during the Iran–Iraq War in the 1980s, and developed close ties with the now powerful Revolutionary Guards which he controls, and whose commanders are elected and dismissed by him. The Revolutionary Guards have been deployed to suppress opposition to him. Khamenei served as the third President of Iran from 1981 to 1989, while becoming a close ally of the first Supreme Leader, Ruhollah Khomeini. Shortly before his death, Khomeini had a disagreement with the heir he had chosen — Hussein Ali Montazeri — so there was no agreed on successor when Khomeini died. The Assembly of Experts elected Khamenei as the next Supreme Leader on 4 June 1989, at age 50. According to Akbar Hashemi Rafsanjani, Khamenei was the man Khomeini had chosen as his successor before dying. Khamenei has been head of the servants of Astan Quds Razavi since 14 April 1979. As Supreme Leader, Khamenei is the most powerful political authority in the Islamic Republic. He is the head of state of Iran, the commander-in-chief of its armed forces, and can issue decrees and make the final decisions on the main policies of the government in many fields such as economy, the environment, foreign policy, and national planning in Iran. Khamenei has either direct or indirect control over the executive, legislative and judicial branches of government, as well as the military and media, according to Karim Sadjadpour. All candidates for the Assembly of Experts, the Presidency and the Majlis (Parliament) are vetted by the Guardian Council, whose members are selected directly or indirectly by the Supreme Leader of Iran. There have been also instances when the Guardian Council reversed its ban on particular people after being ordered to do so by Khamenei. There have been major protests during Khamenei's reign, including the 1994 Qazvin Protests, the 1999 Iranian student protests, the 2009 Iranian presidential election protests, the 2011–2012 Iranian protests, the 2017–2018 Iranian protests, the 2018–2019 Iranian general strikes and protests and the 2019–2020 Iranian protests. Journalists, bloggers and other individuals have been put on trial in Iran for the charge of insulting Supreme Leader Khamenei, often in conjunction with blasphemy charges. Their sentences have included lashing and jail time; some of them have died in custody. Regarding the nuclear program of Iran, Khamenei issued a fatwa in 2003 forbidding the production, stockpiling and use of all kinds of weapons of mass destruction. Early life and education Born to Seyyed Javad Khamenei, an Alim and Mujtahid born in Najaf, and Khadijeh Mirdamadi (daughter of Hashem Mirdamadi) in Mashhad, Khamenei is the second of eight children. Two of his brothers are also clerics; his younger brother, Hadi Khamenei, is a newspaper editor and cleric. His elder sister Fatemeh Hosseini Khamenei died in 2015, aged 89. His father was an ethnic Azerbaijani from Khamaneh, while his mother was an ethnic Persian from Yazd. Some of his ancestors are from Tafresh in today's Markazi Province and migrated from their original home in Tafresh to Khamaneh near the Tabriz. Khamenei's great ancestor was Sayyid Hossein Tafreshi, a descendant of the Aftasi Sayyids, whose lineage supposedly reached to Sultan ul-Ulama Ahmad, known as Sultan Sayyid, a grandchild of Shia fourth Imam, Ali ibn Husayn. Education His education began at the age of four, by learning Quran at Maktab; he spent his basic and advanced levels of seminary studies at the hawza of Mashhad, under mentors such as Sheikh Hashem Qazvini and Ayatollah Milani. Then, he went to Najaf in 1957, but soon returned to Mashhad due to his father's unwillingness to let him stay there. In 1958, he settled in Qom where he attended the classes of Seyyed Hossein Borujerdi and Ruhollah Khomeini. Like many other politically active clerics at the time, Khamenei was far more involved with politics than religious scholarship. Personal life Sanctions On 24 June 2019, the United States imposed sanctions on Khamenei with the signing of Executive Order 13876. Family Khamenei is married to Mansoureh Khojasteh Bagherzadeh, with whom he has six children; four sons (Mostafa, Mojtaba, Masoud, and Meysam) and two daughters (Boshra and Hoda). One of his sons, Mojtaba, married a daughter of Gholam-Ali Haddad-Adel. His eldest son, Mostafa, is married to a daughter of Azizollah Khoshvaght. Another son, Masoud, is married to the daughter of Mohsen Kharazi. He has two brothers, Mohammad Khamenei and Hadi Khamenei. Home As Supreme Leader, Khamenei moved to a house in Central Tehran on Palestine Street. A compound grew around it that now contains around fifty buildings. Around 500 people are employed at this "Beit Rahbari compound" according to The Telegraph, "many recruited from the military and security services". Lifestyle According to Mehdi Khalaji, an Iran expert at the Washington Institute for Near East Policy, Khamenei has a decent life "without it being luxurious". Robert Tait of The Daily Telegraph commented that Khamenei is "renowned for a spartan lifestyle." Dexter Filkins describes Khamenei as presenting himself "as an ascetic, dressing and eating simply". In an interview with a women's magazine, his wife declared that "we do not have decorations, in the usual sense. Years ago, we freed ourselves from these things." On the other hand, Mother Nature Network claims Khamenei has been seen riding around in a BMW car and published a picture of him exiting one. In a 2011 report in The Daily Telegraph, defectors from Iran claimed Khamenei has a considerable appetite of caviar and trout, a stable of 100 horses, collects items such as pipes and (reputedly) 170 antique walking sticks, and has a private court stretching over six palaces. Intelligence sources have also said his family has extensive international business interests. Health Khamenei's health has been called into question. In January 2007, after he had not been seen in public for some weeks, and had not appeared as he traditionally does at celebrations for Eid al-Adha, rumours spread of his illness or death. Khamenei issued a statement declaring that "enemies of the Islamic system fabricated various rumors about death and health to demoralize the Iranian nation", but according to author Hooman Majd, he appeared to be "visibly weak" in photos released with the statement. On 9 September 2014, Khamenei underwent prostate surgery in what his doctors described in state news media as a "routine operation". According to a report by Le Figaro, Western intelligence sources said Khamenei has prostate cancer. Political life and presidency Khamenei was a key figure in the Iranian Revolution in Iran and a close confidant of Ruhollah Khomeini. Since the founding of the Islamic Republic, Khamenei has held many government posts. Muhammad Sahimi claims that his political career began after the Iranian Revolution, when the former President of Iran, Akbar Hashemi Rafsanjani, then a confidant of Khomeini, brought Khamenei into Khomeini's inner circle. Later on, the current President of Iran, Hassan Rouhani, then a member of Parliament, arranged for Khamenei to get his first major post in the provisional revolutionary government as deputy defense minister. Khomeini appointed Khamenei to the post of Tehran's Friday prayers Imam in 1980, after resignation of Hussein-Ali Montazeri from the post. He served briefly as the vice Minister of National Defence from late July to 6 November 1979 and as a supervisor of the Islamic Revolutionary Guards. He also went to the battlefield as a representative of the defense commission of the parliament. Assassination attempt Khamenei narrowly escaped an assassination attempt by the Mujahedin-e Khalq when a bomb, concealed in a tape recorder, exploded beside him. On 27 June 1981, while Khamenei had returned from the frontline, he went to the Aboozar Mosque according to his Saturdays schedule. After the first prayer, he began to give a lecture to worshipers who had written their questions on a piece of paper. Meanwhile, a tape recorder accompanied with papers was put on the desk in front of Khamenei by a young man who pressed a button. After a minute the loud speaker's sound become like whistle and suddenly the tape recorder exploded. "A gift of Furqan Group to the Islamic Republic" was written on the inner wall of the tape recorder. Ayatollah Khamenei's treatment took several months and his arm, vocal cords and lungs were seriously injured. He was permanently injured, losing the use of his right arm. As president In 1981, after the assassination of Mohammad-Ali Rajai, Khamenei was elected President of Iran by a landslide vote (97%) in the October 1981 Iranian presidential election in which only four candidates were approved by the Council of Guardians. Khamenei became the first cleric to serve in the office. Ruhollah Khomeini had originally wanted to keep clerics out of the presidency but later changed his views. Khamenei was reelected in 1985 Iranian presidential election where only three candidates were approved by the Council of Guardians, receiving 87% of the votes. The only Iranian presidential election that had fewer candidates approved by the Council of Guardians was the 1989 Iranian presidential election, where only two candidates were approved by the Council of Guardians to run, and Rafsanjani easily won 96% of the votes. In his presidential inaugural address Khamenei vowed to eliminate "deviation, liberalism, and American-influenced leftists". According to the Iran Chamber, vigorous opposition to the government, including nonviolent and violent protest, assassinations, guerrilla activity and insurrections, was answered by state repression and terror in the early 1980s, both before and during Khamenei's presidency. Thousands of rank-and-file members of insurgent groups were killed, often by revolutionary courts. By 1982, the government announced that the courts would be reined in, although various political groups continued to be repressed by the government in the first half of the 1980s. During Iran–Iraq war Khamenei was one of Iran's leaders during the Iran–Iraq War in the 1980s, and developed close ties with the now-powerful Revolutionary Guards. As president, he had a reputation of being deeply interested in the military, budget and administrative details. After the war In its 10 April 1997 ruling regarding the Mykonos restaurant assassinations, the German court issued an international arrest warrant for Iranian intelligence minister Ali Fallahian after declaring that the assassination had been ordered by him with knowledge of Khamenei and Rafsanjani. Iranian officials, however, have categorically denied their involvement. The then Iranian Parliament speaker Ali Akbar Nategh-Nouri dismissed the ruling as being political, untrue and unsubstantiated. The ruling led to a diplomatic crisis between the governments of Iran and several European countries, which lasted until November 1997. The accused assassins, Darabi and Rhayel, were finally released from prison on 10 December 2007 and deported back to their home countries. Supreme Leader Khamenei has fired and reinstated Presidential cabinet appointments. Iran's Chief Justice Sadeq Larijani, a Khamenei appointee, has warned the president of Iran against voicing opposition to Khamenei. Election as Supreme Leader In 1989 Ayatollah Khomeini dismissed Ayatollah Montazeri as his political successor, giving the position to Khamenei instead. Because Khamenei was neither a marja or ayatollah, the Assembly of Experts had to modify the constitution in order to award him the position of Iran's new Supreme Leader (a decision opposed by several grand ayatollahs). Khamenei officially succeeded Ruhollah Khomeini after Khomeini's death, being elected as the new Supreme Leader by the Assembly of Experts on 4 June 1989. Leadership council proposal Initially, the idea of leadership council was proposed by some members of Assembly of Experts. Various lists were proposed and Khamenei was named in all of them. For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran. According to Rafsanjani, he and Khamenei were against the proposal while Ayatollah Haeri Shirazi and Ayatollah Ebrahim Amini were in favor of it. Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council, while the opposers believed that an individual leader was more efficient according to the past experiences in case of Judiciary council. Ebrahim Amini listed the summary of reasons presented by the two sides. According to him the opposers rejected the proposal because: i) Evidences for Guardianship of the Islamic Jurist were true only for the guardianship of an individual and it was not clear who held the guardianship when there was a council. Guardianship of a council was not rooted in Hadiths and Islamic jurisprudence. ii) Previous council type organizations such as broadcasting council and supreme judicial council were not successful in practice and leadership council would not do well for similar reasons. iii) People were accustomed to the leadership of an individual and a council of leaders was something unfamiliar to them. iv) An individual leader could act more decisive when dealing with critical and important decisions and solving problems and crisis. On the other hand, the supporters of the proposal believed that: i) At the time, there were no Faqih equal to Khomeini or even two or three levels lower than him so that he could fulfill the expectation of people. ii) In case of council of leaders, the members could compensate each other, if any of them had some shortage in a field. Finally, 45 members voted against the leadership council proposal while more than 20 people were in favor of it and the proposal was rejected. After the assembly rejected the idea of a Leadership Council, Khamenei was elected Leader by 60 of the 74 members present with Grand Ayatollah Mohammad-Reza Golpaygani receiving the remaining 14 votes. Khamenei made protestations of his unworthiness -- "my nomination should make us all cry tears of blood" and debated with the mujtahids of the Assembly—but eventually accepted the post. Marjaʿiyyat criteria Since Khamenei was not a marja' at the time—which the Iranian constitution required—he was named as the temporary Supreme Leader. Later, the constitution was amended to remove that requirement and the Assembly of Experts reconvened on 6 August 1989, to reconfirm Khamenei with 60 votes out of 64 present. On 29 April 1989, responding to the letter of Ayatollah Meshkini, the head of committee responsible for revising the Constitution, asking Khomeini's viewpoint regarding the 'marjaʿiyyat criteria, Khomeini said: "From the very beginning, I believed and insisted that there is no need for the requirements of marjaʿiyyat (authority in jurisprudence). A pious mujtahid (jurist-intellectual), who is approved by the esteemed Assembly of Experts (Majlis-i Khobregan), will suffice." In a video that surfaced during the 2017–18 Iranian protests, Khamenei is seen before the assembly saying he was not religiously qualified to be Supreme leader. Khamenei, who was ranked as a Hujjat al-Islam and not a Marja' as required by the Iranian constitution, said he would only be a "ceremonial leader", and was reassured by Akbar Hashemi Rafsanjani the position would be "temporary" until a referendum, apparently planned for one year later. Political strategy and philosophy Khamenei's era has differed from that of his predecessor. He has, however, continued Khomeini's policy of "balancing one group against another, making sure that no single side gains too much power." But lacking Khomeini's charisma and clerical standing, he has developed personal networks, first inside the armed forces, and then among the clerics, while administering the major bonyads and seminaries of Qom and Mashhad. Having been Supreme Leader for three decades, Khamenei has been able to place many loyalists throughout Iran's major institutions, "building a system that serves and protects him". Former cleric Mehdi Khalaji and Saeid Golkar, describe Khamenei's system as having creating a "parallel structure" for each of the country's institutions (army, intelligence agencies, etc.) to keep those institutions weak. According to Vali Nasr of the Johns Hopkins School of Advanced International Studies, "[Khamenei] [took] many of the powers of the presidency with him and [turned] the office of the supreme leader into the omnipotent overseer of Iran's political scene". In Nasr's view, Khamenei is an "unusual sort of dictator". Officials under Khamenei influence the country's various powerful, and sometimes bickering, institutions, including "the parliament, the presidency, the judiciary, the Revolutionary Guards, the military, the intelligence services, the police agencies, the clerical elite, the Friday prayer leaders and much of the media", as well as various "nongovernmental foundations, organizations, councils, seminaries and business groups". Khamenei issues decrees and makes the final decisions on economy, environment, foreign policy and everything else in Iran. Khamenei regularly meets with president, cabinet members, head and officials of the judiciary branch, parliamentarians, among others, and tells them what to do. Khamenei has also fired and reinstated Presidential cabinet appointments. Khamenei meets with foreign dignitaries, however he does not travel overseas; if anyone wishes to see him, that person must travel to Iran. Apart from his time in Najaf as a student, Khamenei travelled to Libya during his time as President. In his speeches Khamenei regularly mentions many familiar themes of the 1979 revolution: justice, independence, self-sufficiency, Islamic government and resolute opposition to Israel and United States, while rarely mentioning other revolutionary ideals such as democracy and greater government transparency. According to Karim Sadjadpour of the Carnegie Endowment for International Peace, Khamenei has "resisted Rafsanjani's attempts to find a modus vivendi with the United States, Khatami's aspirations for a more democratic Islamic state, and Ahmadinejad's penchant for outright confrontation." Privatization of state-owned businesses In 2007, Khamenei called for the privatization of state-owned companies, including the telephone company, three banks and dozens of small oil and petrochemical enterprises. After a few months, at a televised meeting with then-President Mahmoud Ahmadinejad and his Cabinet ministers, important clerics, the leader of parliament and provincial governors, the heads of state broadcasting and the Iranian chamber of commerce, Khamenei ordered "to pass some laws, sell off some businesses, and be quick about it." Khamenei warned that "those who are hostile to these policies are the ones who are going to lose their interests and influence." Dispute regarding status as Grand Ayatollah In 1994, after the death of Grand Ayatollah Mohammad Ali Araki, the Society of Seminary Teachers of Qom declared Khamenei a new marja. Several ayatollahs, however, declined to recognize him as such. Some of those dissidents clerics included Mohammad Shirazi, Hossein-Ali Montazeri, Hassan Tabatabai-Qomi, and Yasubedin Rastegar Jooybari. In 1997, for example, Montazeri "questioned the powers of the Leader" and was subsequently punished for his comments with the closure of his religious school, an attack on his office in Qom, and a period of house arrest. Appointments The table below lists some of the incumbent senior officeholders in Iran directly appointed by the supreme leader (sorted by date of appointment): Fatwas and messages Fatwa regarding companions of Muhammad In 2010, Khamenei issued a fatwa which bans any insult to the Sahabah (companions of Muhammad) as well as Muhammad's wives. The fatwa was issued in an effort to reconcile legal, social, and political disagreements between Sunni and Shia. Amman Message Khamenei is one of the Ulama signatories of the Amman Message, which gives a broad foundation for defining Muslim orthodoxy. as well as elaborating on the factors needed to create Islamic unity, he argues: "neither the Shia Muslims allied with the British MI6 are Shias, nor the Sunni mercenaries of the American CIA are Sunnis, as they are both anti-Islamic." Fatwa against nuclear weapons Khamenei has reportedly issued a fatwa saying the production, stockpiling, and use of nuclear weapons was forbidden under Islam. The fatwa was cited in an official statement by the Iranian government at an August 2005 meeting of the International Atomic Energy Agency (IAEA) in Vienna. It's been widely discussed by international officials and specifically recognized by the US administration. The Iranian official website for information regarding its nuclear program has provided numerous instances of public statements by Khamenei wherein he voices his opposition to pursuit and development of nuclear weapons in moral, religious and Islamic juridical terms. Khamenei's official website specifically cites a 2010 version of these statements in the fatwa section of the website in Farsi as a fatwa on "Prohibition of Weapons of Mass Destruction". Doubts have been cast by experts on the existence of the fatwa as it can be changed or modified as and when deemed necessary, as well as doubts on its authenticity, its impact, and its apparently religious nature. Gareth Porter believes that the fatwa is "sincere" and Gholam-Hossein Elham commented that it will not change. Message(s) to Hajj pilgrims Sayyid Ali Khamenei annually issues message(s) on the occasion of Hajj for all Muslims (pilgrims) in Hajj. He commenced to issue such messages since the start of his responsibility as the supreme leader of Iran (1989). He continually invites all Muslims to Tawhid, and afterwards expresses concerning the significance of Hajj in spiritual/social life. He also asks the Muslims to be aware of what he considers "the conspiracy of the enemies" by having a right comprehension, and advises them to "not be deceived by them". So far, Iran's supreme leader has issued 32 messages (since 1989). A part of his last message (6 August 2019) is as follows: The ritual of Bara’ah which means refusing every instance of mercilessness, cruelty, wrongdoing and corruption of the tyrants of any time, and rising against intimidation and extortion by the arrogant throughout history, is one of the great blessings of Hajj, and an opportunity for oppressed Muslim nations. Women riding bicycles He issued a fatwa declaring women riding bicycles haram. Political power following reform era Khamenei developed a cult of personality; with supporters describing him as a "divine gift to mankind" and in which Khamenei critics are persecuted. According to Karim Sadjadpour of the American Carnegie Endowment for International Peace, several factors have strengthened Khamenei in recent years: (1) A vast network of commissars stationed in strategic posts throughout government bureaucracies, dedicated to enforcing his authority; (2) the weak, conservative-dominated parliament, headed by Khamenei loyalist Gholam-Ali Haddad-Adel (whose daughter is married to the Leader's son); (3) the rapidly rising political and economic influence of the Islamic Revolutionary Guards, whose top leaders are directly appointed by Khamenei and have always been publicly deferential to him; (4) the political disengagement of Iran's young population ...; and (5) most significant[ly], the 2005 presidential election, which saw hardliner Mahmoud Ahmadinejad trounce Khamenei's chief rival ... Hashemi Rafsanjani ... According to Christopher Dickey, in order to consolidate his power base, Khamenei has developed close relations with the security and military establishment, while also expanding the bureaucracy inside the government and around his Beit Rahbari compound. Financial assets Writing in The Daily Telegraph, Damien McElroy and Ahmad Vahdat observed: "The ayatollah likes to cultivate an image of austerity but receives major commissions from the Iranian oil and arms industries and there have been regular claims that he and his son have amassed a fortune running into billions of dollars." A six-month investigation by Reuters has said that Khamenei controls a "financial empire" worth approximately US$95 billion that is not overseen by the Iranian Parliament, a figure much larger than the estimated wealth of the late Shah of Iran. According to the Reuters investigation, Khamenei uses the assets of a company called Headquarters for Executing the Order of the Imam or "Setad" in Farsi, in order to increase his grip on power. Reuters "found no evidence that Khamenei is tapping Setad to enrich himself," but did find that he used Setad's funds, which "rival the holdings of the shah", for political expedience – "Setad gives him the financial means to operate independently of parliament and the national budget, insulating him from Iran's messy factional infighting." According to The Daily Telegraph, money from Setad is used to fund Khamenei's Beit Rahbari compound, which employs over 500 stewards, as was reported in 2013. Hamid Vaezi, Setad's head of public relations, said the information "was far from realities and is not correct". The six-month investigation by Reuters into found that, regarding the source of Setad's funds, "Setad built its empire on the systematic seizure of thousands of properties belonging to ordinary Iranians: members of religious minorities like Vahdat-e-Hagh, who is Baha'i, as well as Shi'ite Muslims, business people and Iranians living abroad." Despite the negative accounts of Western sources, Iranian official sources depict Setad as a vast charity foundation. In an interview in October 2014 with Islamic Republic News Agency, Muhammad Mukhber, the head of Setad, stated that over 90% of profits from Setad business activities are spent on improving infrastructure in the poor regions of the country, creating jobs and improving the well-being of people in these regions reflecting the top concerns of Iran's Supreme Leader, Khamenei for the Iranian society. He state that 85 percent of Setad's charitable works take place in poor regions of Iran. He cited construction of several hundred schools, mosques and hussainiyas, as well as direct and indirect contribution to formation of over 350 thousands jobs expecting a total of 700 thousands for the upcoming three years. Mukhber also cited a sum total grant of 2.21 trillion rials of Qard al-Hasan, interest-free loans, to 41 thousands families in poor regions of the country. He also revealed plans of gradual sell-off of Setad profitable businesses in the stock market with the aim of transferring their ownership into the hands of Iranian people. He also envisioned construction and delivery of 17 thousands housing units to families in poor regions of Iran by 2018. Challenges following 2009 election protest In mid-August 2009, a group of unnamed former reformist lawmakers appealed to the Assembly of Experts – the constitutional body charged with electing and (in theory) supervising and removing the Leader – to investigate Leader Ali Khamenei's qualification to rule. A week later another anonymous letter was issued "calling Iran's leader a dictator and demanding his removal", this one by a group of Iranian clerics. The letters were called a blow to Khamenei's "status as a neutral arbiter and Islamic figurehead" and an "unprecedented challenge to the country's most powerful man" though not a blow to his actual power as leader. The New York Times reports "the phrase 'death to Khamenei' has begun appearing in graffiti on Tehran walls, a phrase that would have been almost unimaginable not long ago." The letter was addressed to the head of the Assembly of Experts, Ayatollah Akbar Hashemi Rafsanjani, a "powerful former president" who also questions the election results. According to the Associate Press it is unlikely the letter's demands would be met as "two-thirds of the 86-member assembly are considered strong loyalists of Khamenei and would oppose" any investigation of him. According to The New York Times reporting in mid-August 2009, a "prominent Iranian cleric and a former lawmaker said on Sunday that they had spoken to some of the authors and had no doubt the letter was genuine". According to this cleric, the letter's signatories number "several dozen, and are mostly midranking figures from Qum, Isfahan and Mashhad", and that "the pressure on clerics in Qum is much worse than the pressure on activists because the establishment is afraid that if they say anything they can turn the more traditional sectors of society against the regime". Relations with former President Ahmadinejad Early in his presidency, Ahmadinejad was sometimes described as "enjoy[ing] the full backing" of the Supreme Leader , and even as being his "protege." In Ahmadinejad's 2005 inauguration the supreme leader allowed Ahmadinejad to kiss his hand and cheeks in what was called "a sign of closeness and loyalty," and after the 2009 election fully endorsed Ahmadinejad against protesters. However, as early as January 2008 signs of disagreement between the two men developed over domestic policies, and by the period of 2010–11 several sources detected a "growing rift" between them. The disagreement was described as centered on Esfandiar Rahim Mashaei, a top adviser and close confidant of Ahmadinejad and opponent of "greater involvement of clerics in politics", who was first vice president of Iran until being ordered to resign from the cabinet by the supreme leader. In 2009, Ahmadinejad dismissed Intelligence Minister Gholam-Hossein Mohseni-Eje'i, an opponent of Mashaei. In April 2011, another Intelligence minister, Heydar Moslehi, resigned after being asked to by Ahmadinejad, but was reinstated by the supreme leader within hours. Ahmadinejad declined to officially back Moslehi's reinstatement for two weeks and in protest engaged in an "11-day walkout" of cabinet meetings, religious ceremonies, and other official functions. Ahmadinejad's actions led to angry public attacks by clerics, parliamentarians and military commanders, who accused him of ignoring orders from the supreme leader. Conservative opponents in parliament launched an "impeachment drive" against him, four websites with ties to Ahmadinejad reportedly were "filtered and blocked", and several people "said to be close" to the president and Mashaei (such as Abbas Amirifar and Mohammed Sharif Malekzadeh) were arrested on charges of being "magicians" and invoking djinns. On 6 May 2011, it was reported that Ahmadinejad had been given an ultimatum to accept the leader's intervention or resign, and on 8 May he "apparently bowed" to the reinstatement, welcoming back Moslehi to a cabinet meeting. The events have been said to have "humiliated and weakened" Ahmadinejad, though the president denied that there had been any rift between the two, and according to the semiofficial Fars News Agency, he stated that his relationship with the supreme leader "is that of a father and a son." In 2012, Khamenei ordered a halt to a parliamentary inquiry into Ahmadinejad's mishandling of the Iranian economy. In 2016, Khamenei advised Mahmoud Ahmadinejad, his former ally with whom his relationship was strained after Ahmadinejad accused his son Mojtaba Khamenei of embezzling from the state treasury, to not run for president again. Domestic policy Khamenei is regarded by some as the figurehead of the country's conservative establishment. Khamenei supported Mesbah Yazdi describing him as one of Iran's most credible ideologues prior to the 2005 election, but has reportedly "recently been concerned about Mesbah's political ambitions." In 2007, Khamenei requested that government officials speed up Iran's move towards economic privatization. Its last move towards such a goal was in 2004, when Article 44 of the constitution was overturned. Article 44 had decreed that Iran's core infrastructure should remain state-run. Khamenei also suggested that ownership rights should be protected in courts set up by the Justice Ministry; the hope was that this new protection would give a measure of security to and encourage private investment. In 2007, Iranian police under the direction of Khamenei launched a "Public Security Plan", arresting dozens of "thugs" to increase public security. Additionally, Khamenei has stated that he believes in the importance of nuclear technology for civilian purposes because "oil and gas reserves cannot last forever." On 30 April 2008, Ali Khamenei backed President Ahmadinejad's economic policy and said the West was struggling with more economic difficulties than Iran, with a "crisis" spreading from the United States to Europe, and inflation was a widespread problem. The Iranian leader said that the ongoing economic crisis which has crippled the world has been unprecedented in the past 60 years. "This crisis has forced the UN to declare state of emergency for food shortages around the globe but foreign radios have focused on Iran to imply that the current price hikes and inflation in the country are the results of carelessness on the part of Iranian officials which of course is not true", he said. Khamenei emphasized that no one has the right to blame the Iranian government for Iran's economic problems. He also advised people and the government to be content and avoid waste in order to solve economic problems. "I advise you to keep in your mind that this great nation is never afraid of economic sanctions", he added. Presidential, parliamentary, and Assembly of Experts elections As Supreme Leader, Khamenei has influence over elections in Iran since the Constitution of Iran allows him to appoint half of the members of the Guardian Council and the Chief Justice of Iran. The Constitution also establishes that the Council approves or disqualifies candidates for office while the Chief Justice presents the other half of the members of the Council to be selected by Parliament. These constitutional provisions give Khamenei direct and indirect influence over the Council; an entity that, in turn, has direct influence over who can run for government. This influence was evident in the 2004 parliamentary elections, in which the Guardian Council disqualified thousands of candidates from running—including 80 incumbents, many of the reformist members of Parliament, and all the candidates of the Islamic Iran Participation Front party. Subsequently, the conservatives won about 70 percent of parliamentary seats. The election became a key turning point in the country's political evolution as it marked the end of the campaign for political and social reform initiated by former President Mohammad Khatami. During the 2005 presidential election, Khamenei's comments about importance of fighting corruption, being faithful to the ideals of the Islamic revolution, as well as on the superior intelligence and dynamism of those who studied engineering, were interpreted by some as a subtle endorsement of Mahmoud Ahmadinejad (who had a PhD in traffic engineering). After the election, and until recently, Khamenei was outspoken in his support for Ahmadinejad, and "defended him publicly in ways which he never" had reformist president Khatami. Khamenei would later certify the results of the 2009 Iranian Presidential election. Khamenei took a firm stand against the 2009–10 Iranian election protests, and stated that he will neither reconsider vote results nor bow to public pressure over the disputed reelection of President Mahmoud Ahmadinejad. "By Allah's favor, the presidential election was accurately held, and the current matters should be pursued legally." In a public appearance on 19 June he expresses his support for the declared winner Ahmadinejad and accused foreign powers—including Britain, Israel and the United States—of helping foment protest against the election results. In particular, he singled out Britain, perceiving the country as the "most evil" of its enemies. He said that the Iranian people will respond with an "iron fist" if Western powers meddle in Iran's internal affairs. In response to reformist gains in the 2015–2016 election cycle, Khamenei lamented the loss of conservative clerics from the Assembly of Experts and suggested changes to the law by which the Guardian Council vets candidates may be needed because it is currently too difficult for the Guardian Council to vet so large a number of candidates. Science and technology Ali Khamenei has been supportive of scientific progress in Iran. He was among the first Islamic clerics to allow stem cell research and therapeutic cloning. In 2004, Khamenei said that the country's progress is dependent on investment in the field of science and technology. He also said that attaching a high status to scholars and scientists in society would help talents to flourish and science and technology to become domesticated, thus ensuring the country's progress and development. Foreign policy Khamenei has "direct responsibility" for foreign policy, which "cannot be conducted without his direct involvement and approval". He has a foreign policy team independent of the president's "which includes two former foreign ministers" and "can at any time of his choosing inject himself into the process and 'correct' a flawed policy or decision." His foreign policy is said to steer a course that avoids either confrontation or accommodation with the West. Khamenei condemned the Saudi Arabian-led intervention in Yemen and compared Saudi Arabia to Israel. Khamenei condemned the persecution of Rohingya Muslims in Myanmar and called Myanmar's de facto leader and Nobel Peace Prize laureate Aung Sang Suu Kyi a "brutal woman". U.S. Secretary of State Mike Pompeo criticized Khamenei for his refusal to condemn the Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority in China. Beliefs about the United States and its foreign policy The United States and Iran have had no formal diplomatic relations since the Iran hostage crisis of 1980 when US embassy was taken over and US diplomats were taken prisoner. According to study by Karim Sadjadpour, speeches by Khamenei regularly mention the principle of resolute opposition to the United States; and according to Karim Sadjadpour he has "resisted Rafsanjani's attempts to find a modus vivendi with the United States", and once told reformist president Mohammad Khatami that "we need the United States as an enemy". On 4 June 2006, Khamenei said that Iran would disrupt energy shipments from the Persian Gulf region (about 20% of the world's daily supply of oil passes from the Persian Gulf through the Strait of Hormuz very close to Iran's coast) should the country come under attack from the US, insisting that Tehran will not give up its right to produce nuclear fuel. On 14 September 2007, Ayatollah Ali Khamenei (on the 1st Friday prayer of Ramadan) predicted that George W. Bush and American officials will one day be tried in an international criminal court to be held "accountable" for the U.S. led invasion of Iraq. He asserts that the United States is the main cause of insecurity in Iraq. On 21 March 2009, a day after US President Barack Obama advocated a "new beginning" in diplomatic relations between the two countries, Khamenei said a change of US "words" was not enough and added: "We will watch and we will judge (the new US administration) ... You change, our behavior will change." He rejected US foreign policy since the Islamic revolution, insisted the United States is "hated in the world" and should end its interference in other countries. Khamenei criticized the NATO-led military intervention in Libya. On 21 March 2011, Khamenei accused the West of having "come after Libyan oil". He also stressed that "Iran utterly condemns the behaviour of the Libyan government against its people, the killings and pressure on people, and the bombing of its cities... but it (also) condemns the military action in Libya". Khamenei stated that he support sending mediators rather than bombing the country. In June 2011, Khamenei accused the United States government of terrorism and rejected the American definition of terrorism; he was quoted as saying, "The U.S. and the European governments that follow it describe Palestinian combatant groups who fight for the liberation of their land as terrorists." In June 2012, Khamenei warned Western governments that the mounting sanctions on the country will only deepen the Iranians' hatred of the West. In October 2014, Khamenei said the U.S. and the U.K. created ISIS as a tool to fight Iran and "create insecurity" in the region. On 19 July 2015, while speaking at a mosque in Tehran, Khamenei said to his supporters that the policies of the United States in the region were "180 degrees" opposed to Iran's political and religious movement. The speech was punctuated by chants of "Death to America" and "Death to Israel". Khamenei said in regards to the 2015 nuclear deal that "Even after this deal our policy towards the arrogant U.S. will not change." U.S. Secretary of State John Kerry said that if the comments reflected policy, it was "very disturbing", and "very troubling". In March 2020, Khamenei warned against a United States offer of aid to fight COVID-19 on the grounds that it could be a way to hurt Iran by further spreading the disease. He also suggested the US had developed a special variety of the virus "based on Iranian genetic information they have gathered", although he provided no evidence for the theory. Khamenei explained, “There are enemies who are demons, and there are enemies who are humans, and they help one another." Condemnation of 11 September attacks After the 11 September attacks, Khamenei condemned the act and the attackers and called for a condemnation of terrorist activities all over the world, but warned strongly against a military intervention in Afghanistan. He is quoted as saying, "Mass killings of human beings are catastrophic acts which are condemned wherever they may happen and whoever the perpetrators and the victims may be." Zionism and Israel Khamenei is an opponent of the State of Israel and Zionism, and has been criticized for anti-Semitic rhetoric and for making threats against Israel. On 15 December 2000, Khamenei called Israel a "cancerous tumor of a state" that "should be removed from the region" and in 2013 called Israel a "rabid dog", as well as in 2014 during the Gaza war, for what he called attacking innocent people. In 2014, a tweet from an account attributed to Khamenei, claimed that there was no cure for Israel but its annihilation. In a September 2008 sermon for Friday prayers in Tehran, Khamenei stated that "it is incorrect, irrational, pointless and nonsense to say that we are friends of Israeli people", because he believed that the occupation is done by the means of them. "[U]surpation of houses, lands, and business [of Palestinian people] are carried out using these people. They are the background actors of Zionist elements," said Khamenei in his speech. "[W]e have no problem with Jews and Christians ... we have problem with the usurpers of Palestine land," he added. Also, he said that he had raised the issue "to spell an end to any debates". In 2013, Khamenei accused France of "kneeling" before Israel, while saying that Israel was led by people unworthy of the "title human". Nevertheless, according to anti-regime change activist Abbas Edalat, in 2005 Khamenei responded to a remark by then-President Ahmadinejad which had been widely translated as saying that the "regime occupying Jerusalem should be wiped off the map" by saying that "the Islamic Republic has never threatened and will never threaten any country." In a September 2009 sermon, Khamenei was quoted as saying, that "the Zionist cancer is gnawing into the lives of Islamic nations." In another report of the same speech, he added that "we will support and help any nations, any groups fighting against the Zionist regime across the world, and we are not afraid of declaring this." Khamenei instead proposed that "Palestinian refugees should return and Muslims, Christians and Jews could choose a government for themselves, excluding immigrant Jews," adding "No one will allow a bunch of thugs, lechers and outcasts from London, America and Moscow to rule over the Palestinians." On 10 September 2015, in a speech about Israel after agreement on the nuclear program of Iran, Khamenei made a remark "Israel will not exist in 25 years". For the first time, the remark was published in Khamenei's official website and his Twitter. This statement was reported as voted as the best and most important among Khamenei's statements in 2015 by an online poll conducted by his official website. On 21 February, at the 6th International Conference in Support of the Palestinian Intifada, Khamenei regarded withdrawal of Israel from south Lebanon in 2000 and from Gaza in 2005 as two major achievements so far. Also, he advised the Islamic countries to refrain from "useless" crises and differences and instead concentrate on the issue of Palestine which he regarded as the core issue of Islam. "Otherwise, the potentials and capabilities of the nations will go to waste in the face of vain struggles, which would provide opportunities for the Zionist regime to become even stronger," he added. Khamenei condemned peace agreement between Israel and the United Arab Emirates and charged UAE with betraying the Islamic world, the Arab countries and Palestine. He stated that the normalization will be only temporary, but the UAE will forever have to bear the shame regarding the deal. Holocaust denial On 21 March 2014, during a morning speech marking the Persian New Year, Nowruz, Khamenei called into question the Holocaust. He said that "the Holocaust is an event whose reality is uncertain and if it has happened, it's uncertain how it has happened". Additionally he commented that "No one in European countries dares to speak about [the] Holocaust" (because of the potential legal consequences in some countries), and said that in the West, "speaking about [the] Holocaust and expressing doubts about it is considered to be a great sin." The Anti-Defamation League accused Khamenei in March 2014 of making statements of explicit Holocaust denial. On Holocaust Memorial Day, 27 January 2016, Khamenei posted a Holocaust denying video on his official website. In the video (drawing on the March 2014 speech), lasting about three minutes, the video features images of Holocaust deniers Roger Garaudy, Robert Faurisson, and David Irving. In a series of tweets in mid-December 2019, he praised Garaudy: "The fight he engaged in against the Zionists is a #DivineDuty for all those who respect the #Truth." France's conviction of Garaudy, he said, was against the concept of freedom of speech. Human rights, freedoms, protests, Islamic law Critics have accused Khamenei of overseeing the assassination of as many as 160 exiled defectors worldwide, the heavy handed repression of protesters, the killings of tens of thousands of members of the M.E.K. (People's Mujahedin of Iran) paramilitary group, and of making dissident writers and intellectuals in Iran "a special target" of repression, among other infractions of human rights. However, Khamenei himself has insisted human rights are a fundamental principle underlying Islamic teachings, that precedes western concern for human rights by many centuries. He has attacked Western powers who have criticized the rights record of the Islamic Republic for hypocrisy saying that these countries economically oppress people in Third World countries and support despots and dictators. In response to Western complaints of human rights abuses in Iran he has stated that the American administration has committed many crimes and is therefore not fit to judge the Islamic Republic. Protests during leadership There have been several major protests during Khamenei's reign, including the 1994 Qazvin Protests—where, according to Al-Arabiya, around 40 people were killed and over 400 were injured— the 1999 Iranian student protests, the 2009 Iranian presidential election protests, when protesters chanted "death to the dictator", and ripped down pictures of Khamenei, as well as the 2011–12 Iranian protests and 2017–18 Iranian protests, among others. In 2016, Khamenei, who outlines the elections guidelines "in line with Article 110 of Iran's Constitution", asked to maximize the amount of transparency in elections in Iran, using modern technologies. During the Mahshahr massacre, protests expanded against "government corruption, failing institutions, lack of freedoms and the repressive rule of Iran's supreme leader, Ayatollah Ali Khamenei." During the 2018–2019 Iranian general strikes and protests, Khameini demanded punishment for those “who disrupt economic security”. According to Reuters, the remarks were "clearly intended to send a message to Iranians who may plan more demonstrations". During the 2019–2020 Iranian protests, Khamenei met with various officials and cabinet members, saying "he would hold the assembled officials responsible for the consequences of the protests if they didn't immediately stop them." According to an official, Khamenei "made clear the demonstrations required a forceful response" and that "rioters should be crushed." During the Ukraine International Airlines Flight 752 protests, thousands of protesters demanded Ayatollah Ali Khamenei's resignation. Minorities The Baháʼí Faith is the largest religious minority in Iran, with around 300,000 members (8,000,000 members worldwide) and is officially considered a dangerous cult by Iranian government. It is banned in Iran and several other countries. Khamenei has approved new legislation against Baháʼís in Iran and lessen their influence abroad. According to a letter from the Chairman of the Command Headquarters of the Armed Forces in Iran addressed to the Ministry of Information, the Revolutionary Guard, and the Police Force, Khamenei has also ordered the Command Headquarters to identify people who adhere to the Baháʼí Faith and to monitor their activities and gather any and all information about the members of the Baháʼí Faith. Relationship with the press In 2000, he was listed by the Committee to Protect Journalists as "one of the top ten enemies of the press and freedom of expression", and was named to the Time 100 in 2007. Opposition journalists Ahmad Zeidabadi, Mohsen Sazegara, Mohammad Nourizad and Akbar Ganji were arrested and investigated for spreading critical articles containing unproven charges against Khamenei's policies as the leader and some organizations. According to the Iran's Press Law "spreading rumors and lies and distorts the words of others" is not allowed. Also, according to the law, "spreading libel against officials, institutions, organizations and individuals in the country or insulting legal or real persons who are lawfully respected, even by means of pictures or caricatures" is not allowed. Among his controversial actions were his rejection of a bill presented by the Iranian parliament in 2000 that aimed to reform the country's press law, and the disqualification of thousands of parliamentary candidates for the 2004 Iranian legislative election by the Guardian Council he appointed. In 2012, 2013, and 2014, Forbes selected Khamenei as the 21st, 23rd, and 19th most powerful person in the world, respectively, in the list of The World's Most Powerful People. Trials of people for insulting Khamenei Several journalists, bloggers, and other individuals were put on trial in Iran for the charge of insulting the Supreme Leader, often in conjunction with blasphemy charges. In 1996, Abbas Maroufi was sentenced to 35 lashes and 6 months imprisonment for spreading lies and insulting Khamenei. Maroufi was also banned from working as a journalist and his literary monthly Gardoon was closed. Maroufi had compared Khamenei to former Shah of Iran Mohammed Reza Pahlavi. In 2005, an Iranian was jailed for two years for insulting Khamenei and Imam Khomeini while being cleared of insulting the prophet. In 2009, Iranian blogger Omid Reza Mir Sayafi who was arrested for insulting Khamenei in an internet post, died while in custody in Evin Prison. In 2010, opposition activist Ahmad Gabel was sentenced to 20 months in jail for insulting Khamenei, as well as 3 additional years for possessing a satellite receiver, a 3-year exile and a fine. In 2014, eight men including a Briton were sentenced for 19 to 20 years for insulting Khamenei and other charges relating to Facebook comments. In 2017, Sina Dehghan was sentenced to death for insulting the prophet, with an additional 16-month sentence for insulting Khamenei in a messaging application. Interpretation of Islamic law In 2000, Ali Khamenei sent a letter to the Iranian parliament forbidding the legislature from debating a revision of the Iranian press law. He wrote: "The present press law has succeeded to a point in preventing this big plague. The draft bill is not legitimate and in the interests of the system and the revolution." His use of "extra-legislative power" has been criticized by reformists and opposition groups. In reaction to the letter, some Parliament members voiced outrage and threatened to resign. Kayhan and Jomhuri-ye Eslami are two newspapers published under the management of Khamenei. In late 1996, following a fatwa by Khamenei stating that music education corrupts the minds of young children, many music schools were closed and music instruction to children under the age of 16 was banned by public establishments (although private instruction continued). Khamenei stated, "The promotion of music [both traditional and Western] in schools is contrary to the goals and teachings of Islam, regardless of age and level of study." In 1999, Khamenei issued a fatwa stating that it was permitted to use a third-party (donor sperm, ova or surrogacy) in fertility treatments. This was different in "both style and substance" to the fatwa on Assisted Reproductive Technology (ART) by Gad El-Hak Ali Gad El-Hak of Egypt's Al-Azhar University in the late 1980s which permitted ART (IVF and similar technologies) as long there is no third-party donation (of sperm, eggs, embryos, or uteruses). In 2002, he ruled that human stem cell research was permissible under Islam, with the condition that it be used to create only parts as opposed to a whole human. In 2002, after protests erupted in the capital, Khamenei intervened against the death sentence given to Hashem Aghajari for arguing that Muslims should re-interpret Islam rather than blindly follow leaders. Khamenei ordered a review of the sentence against Aghajari and it was later commuted to a prison sentence. Women's rights In July 2007, Khamenei criticized Iranian women's rights activists and the Convention on the Elimination of All Forms of Discrimination Against Women (CEDAW): "In our country ... some activist women, and some men, have been trying to play with Islamic rules in order to match international conventions related to women", Khamenei said. "This is wrong." Khamenei made these comments two days after Iranian women's rights activist Delaram Ali was sentenced to 34 months of jail and 10 lashes by Iran's judiciary. Khamenei is an advocate of Islamic practice of Hijab. He believes that hijab is aimed at honoring women. To the Western objection to the compulsory hijab in Iran, he responds by pointing out the compulsory unveiling in certain western countries and obstacles created for veiled Muslim women who want to enter universities. He further argues that women in the West have lost their honor by pointing out perceived high rate of sexual violence in the West as well as the widespread exploitation of female sexual appeal for commercial purposes: "In effect, they have been treating women like a commodity, like another of their products. If you were to look at the magazines, which are published in the West, you would see that they advertise a commodity for sale next to the naked picture of a woman. Can you imagine a bigger insult to women? They [the West] must be answerable [not Islam]." Ali Khamenei believes in gender segregation. Khamenei also believes that gender equality is a Zionist plot with the purpose to "corrupt the role of women in society". Khamenei argues that "Today, homosexuality is a major problem in the western world. They [western nations] however ignore it. But the reality is that homosexuality has become a serious challenge, pain and unsolvable problem for the intellectuals in the west." Literature and art Khamenei has stated that "poetry must be the vanguard of the caravan of the [Islamic] revolution... [T]hrough the arts and literature, the revolution can be exported in an easier and more honest way.” It has been suggested (by Dexter Filkins) that this might explain his interest in banning books, prohibiting newspapers and imprisoning artists. He has expressed interest in the study of the novels and stories since childhood and studied various world's credible novels. He was "fascinated by Jean-Paul Sartre and Bertrand Russell" in his youth. He praised the works of Mikhail Sholokhov, Alexei Tolstoy, Honoré de Balzac, and Michel Zévaco. However, Victor Hugo's Les Misérables "is the best novel that has been written in history." He explained: He suggested reading The Grapes of Wrath to "an audience of writers and artists" and Uncle Tom's Cabin to the high-level state managers as he thought it shed light on the history of United States. Isn't this the government that massacred the original native inhabitants of the land of America? That wiped out the American Indians? ... Today, one of the most tragic works of art is Uncle Tom's Cabin ... This book still lives after almost 200 years, Khamenei is fluent in Arabic in addition to his native languages, Persian and Azerbaijani. He has translated several books into Persian from Arabic, including the works of the Egyptian Islamic theoretician Sayyid Qutb. He speaks Azerbaijani, his father's native language. When it comes to poetry, in Mashhad he used to participate in the literary associations along with known poets and used to critique poems. Writing some poems himself, he chose pseudonym 'Amin' for himself. In the field of music, he is known to have a good singing voice and plays the tar, a traditional Iranian stringed instrument. Public diplomacy Islamic awakening In February 2011, Ali Khamenei supported the Egyptian uprising against their government, describing it as Islamic awakening instead of Arab Spring. Trying to communicate with Arab people, he addressed Egypt's protesters in Arabic. (Even though his native language is Persian.) He introduced himself as "your brother in religion", while praising the "explosion of sacred anger". Later, in "Islamic Awakening conferences" which were held in Tehran, Khamenei praised the Muslim youths of Tunisia, Libya, Egypt, Yemen and Bahrain for what he described as Islamic awakening. He also paralleled these events with Islamic revolution in Iran during his Nowruz oration in 2011. However, major protests against the Iranian regime also broke out throughout Iran in 2011, and they became known as the 2011–12 Iranian protests. Works Four main books of Rijal An Outline of Islamic Thought in the Quran Honest leader Discourse on Patience (translation by Sayyid Hussein Alamdar available online) Iqbal: Manifestation of the Islamic Spirit, Two Contemporary Muslim Views Iqbal, the Poet-Philosopher of Islamic Resurgence is one of the "Two Contemporary Muslim Views", the other one is Ali Shariati's. Replies to Inquiries about the Practical Laws of Islam (PDF version) Lessons from the Nahjul-Balaghah Human Rights in Islam The Charter of Freedom Essence of Tawhid: Denial of Servitude but to God Translations from Arabic: Future in the realm of Islam Collections: A 250 Years Old Person Palestine See also Khamenei family Motto of years in Islamic Republic of Iran Footnotes References External links Official The Office of the Supreme Leader of Iran Official English-language Twitter account Photo Pictures in Iran-Iraq War, tarikhirani.ir Ali Khamenei gallery in Khamenei's website Media Videos Video Archive of Ayatollah Khamenei Ayatollah Khamenei in the city of Ardabil reading different poems in Azerbaijani language about Imam Hussein and events in Karbala. \|- \|- \|- \|- \|- \|- 1939 births Living people 20th-century translators Al-Husayni family Anti-Americanism Central Council of the Islamic Republican Party members Combatant Clergy Association politicians Commanders-in-Chief of Iran Council of the Islamic Revolution members Deputies of Tehran, Rey, Shemiranat and Eslamshahr Grand ayatollahs Iranian Azerbaijani grand ayatollahs and clerics Iranian Azerbaijani politicians Iranian grand ayatollahs Iranian Holocaust deniers Iranian individuals subject to the U.S. Department of the Treasury sanctions Iranian Islamists Iranian people of the Iran–Iraq War Iranian poets Iranian politicians with physical disabilities Iranian religious leaders Iranian revolutionaries Iranian scholars Iranian Shia Muslims Iranian translators Islamic Republican Party secretaries-general Members of the 1st Islamic Consultative Assembly Members of the Assembly of Experts People from Mashhad People of the Iranian Revolution Presidents of Iran Shia scholars of Islam Specially Designated Nationals and Blocked Persons List Supreme Leaders of Iran Theocrats Qom Seminary alumni	true	[ "This list includes all ships known or thought to have been shipwrecked on the coast of what is now Australia up to 1699, including those that were refloated. All of them occurred on the west coast; that is, on the coast of what is now Western Australia.\n\nList of 17th century shipwrecks in Australia\n\nNotes\n Both the National Shipwreck Database and the Western Australian Shipwrecks Database list an unidentified ship that ran aground at Victoria Harbour on the south coast of Western Australia in 1627. According to the National Shipwreck Database, it was refloated. The Western Australian Shipwrecks Database lists as sources Heeres (1899) p. 51; The West Australian, 4 February 1937; The West Australian, 24 February 1937; and research notes of D. C. Cowan. The first of these appears to be in error, as Heeres makes no mention of a ship grounding on the south coast on that page.\n\nReferences\n \n \n \n\nAustralia history-related lists\n \n Z\n17th Century\n17th century-related lists\nLists of shipwrecks of Australia\nAustralia transport-related lists\nMaritime history of the Dutch East India Company", "The following is a list of episodes of the British teen drama Skins. For a plot summary of the episodes, visit the main article of each series.\n\nSeries overview\n\nEpisodes\n\nSeries 1 (2007)\n\nSeries 2 (2008)\n\nSeries 3 (2009)\n\nSeries 4 (2010)\n\nSeries 5 (2011)\n\nSeries 6 (2012)\n\nSeries 7 (2013)\n\nCharacter Video Diaries\n\nSeries 1 (Generation 1)\n\nAlso to accompany the series, online video diaries were created for the following characters.\n\nSeries 3 (Generation 2)\n\nThe character video diaries functionally replaced Unseen Skins for the third series. A new diary was posted on the E4 website following the broadcast of each episode, and the diary often pertained to the events of that episode.\n\nThe Lost Weeks\n\nTo explain what had happened to each character between series 1 and 2, a series of videos called \"The Lost Weeks\" were aired exclusively on E4.com. The episodes are as follows:\n\nAlthough several of these videos bear the same name as a character video diary they are two separate videos.\n\nRatings\n\nReferences\n\nExternal links\nList of \n\nChannel 4-related lists\nLists of British LGBT-related television series episodes\nLists of British teen drama television series episodes" ]
[ "Ali Khamenei", "Leadership council proposal", "what did he propose?", "Various lists were proposed and Khamenei was named in all of them.", "what were these lists?", "For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran." ]	C_a2f43975a2fa421682c631d34e71caee_1	why was his name on all the lists?	3	why was Ali Khamenei's name on all the lists at the Leadership council?	Ali Khamenei	Initially, the idea of leadership council was proposed by some members of Assembly of experts. Various lists were proposed and Khamenei was named in all of them. For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran. According to Rafsanjani, he and Khamenei were against the proposal while Ayatollah Haeri Shirazi and Ayatollah Ebrahim Amini were in favor of it. Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council, while the opposers believed that an individual leader was more efficient according to the past experiences in case of Judiciary council. Ebrahim Amini listed the summary of reasons presented by the two sides. According to him the opposers rejected the proposal because: i) Evidences for Guardianship of the Islamic Jurist were true only for the guardianship of an individual and it was not clear who held the guardianship when there was a council. Guardianship of a council was not rooted in Hadiths and Islamic jurisprudence. ii) Previous council type organizations such as broadcasting council and supreme judicial council were not successful in practice and leadership council would not do well for similar reasons. iii) People were accustomed to the leadership of an individual and a council of leaders was something unfamiliar to them. iv) An individual leader could act more decisive when dealing with critical and important decisions and solving problems and crisis. On the other hand, the supporters of the proposal believed that: i) At the time, there were no Faqih equal to Khomeini or even two or three levels lower than him so that he could fulfill the expectation of people. ii) In case of council of leaders, the members could compensate each other, if any of them had some shortage in a field. Finally, 45 members voted against the leadership council proposal while more than 20 people were in favor of it and the proposal was rejected. After the assembly rejected the idea of a Leadership Council, Khamenei was elected Leader by 60 of the 74 members present with Grand Ayatollah Mohammad-Reza Golpaygani receiving the remaining 14 votes. Though Khamenei opposed this and argued heavily against the decision, he eventually accepted it after debating with the mujtahids of the Assembly. CANNOTANSWER	Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council,	Sayyid Ali Hosseini Khamenei (, ; born 19 April 1939) is a Twelver Shia Marja' and the second and current supreme leader of Iran, in office since 1989. He was previously the third president of Iran from 1981 to 1989. Khamenei is the longest serving head of state in the Middle East, as well as the second-longest serving Iranian leader of the last century, after Shah Mohammad Reza Pahlavi. According to his official website, Khamenei was arrested six times before being sent into exile for three years during Mohammad Reza Pahlavi's reign. After the Iranian revolution overthrowing the shah, he was the target of an attempted assassination in June 1981 that paralysed his right arm. Khamenei was one of Iran's leaders during the Iran–Iraq War in the 1980s, and developed close ties with the now powerful Revolutionary Guards which he controls, and whose commanders are elected and dismissed by him. The Revolutionary Guards have been deployed to suppress opposition to him. Khamenei served as the third President of Iran from 1981 to 1989, while becoming a close ally of the first Supreme Leader, Ruhollah Khomeini. Shortly before his death, Khomeini had a disagreement with the heir he had chosen — Hussein Ali Montazeri — so there was no agreed on successor when Khomeini died. The Assembly of Experts elected Khamenei as the next Supreme Leader on 4 June 1989, at age 50. According to Akbar Hashemi Rafsanjani, Khamenei was the man Khomeini had chosen as his successor before dying. Khamenei has been head of the servants of Astan Quds Razavi since 14 April 1979. As Supreme Leader, Khamenei is the most powerful political authority in the Islamic Republic. He is the head of state of Iran, the commander-in-chief of its armed forces, and can issue decrees and make the final decisions on the main policies of the government in many fields such as economy, the environment, foreign policy, and national planning in Iran. Khamenei has either direct or indirect control over the executive, legislative and judicial branches of government, as well as the military and media, according to Karim Sadjadpour. All candidates for the Assembly of Experts, the Presidency and the Majlis (Parliament) are vetted by the Guardian Council, whose members are selected directly or indirectly by the Supreme Leader of Iran. There have been also instances when the Guardian Council reversed its ban on particular people after being ordered to do so by Khamenei. There have been major protests during Khamenei's reign, including the 1994 Qazvin Protests, the 1999 Iranian student protests, the 2009 Iranian presidential election protests, the 2011–2012 Iranian protests, the 2017–2018 Iranian protests, the 2018–2019 Iranian general strikes and protests and the 2019–2020 Iranian protests. Journalists, bloggers and other individuals have been put on trial in Iran for the charge of insulting Supreme Leader Khamenei, often in conjunction with blasphemy charges. Their sentences have included lashing and jail time; some of them have died in custody. Regarding the nuclear program of Iran, Khamenei issued a fatwa in 2003 forbidding the production, stockpiling and use of all kinds of weapons of mass destruction. Early life and education Born to Seyyed Javad Khamenei, an Alim and Mujtahid born in Najaf, and Khadijeh Mirdamadi (daughter of Hashem Mirdamadi) in Mashhad, Khamenei is the second of eight children. Two of his brothers are also clerics; his younger brother, Hadi Khamenei, is a newspaper editor and cleric. His elder sister Fatemeh Hosseini Khamenei died in 2015, aged 89. His father was an ethnic Azerbaijani from Khamaneh, while his mother was an ethnic Persian from Yazd. Some of his ancestors are from Tafresh in today's Markazi Province and migrated from their original home in Tafresh to Khamaneh near the Tabriz. Khamenei's great ancestor was Sayyid Hossein Tafreshi, a descendant of the Aftasi Sayyids, whose lineage supposedly reached to Sultan ul-Ulama Ahmad, known as Sultan Sayyid, a grandchild of Shia fourth Imam, Ali ibn Husayn. Education His education began at the age of four, by learning Quran at Maktab; he spent his basic and advanced levels of seminary studies at the hawza of Mashhad, under mentors such as Sheikh Hashem Qazvini and Ayatollah Milani. Then, he went to Najaf in 1957, but soon returned to Mashhad due to his father's unwillingness to let him stay there. In 1958, he settled in Qom where he attended the classes of Seyyed Hossein Borujerdi and Ruhollah Khomeini. Like many other politically active clerics at the time, Khamenei was far more involved with politics than religious scholarship. Personal life Sanctions On 24 June 2019, the United States imposed sanctions on Khamenei with the signing of Executive Order 13876. Family Khamenei is married to Mansoureh Khojasteh Bagherzadeh, with whom he has six children; four sons (Mostafa, Mojtaba, Masoud, and Meysam) and two daughters (Boshra and Hoda). One of his sons, Mojtaba, married a daughter of Gholam-Ali Haddad-Adel. His eldest son, Mostafa, is married to a daughter of Azizollah Khoshvaght. Another son, Masoud, is married to the daughter of Mohsen Kharazi. He has two brothers, Mohammad Khamenei and Hadi Khamenei. Home As Supreme Leader, Khamenei moved to a house in Central Tehran on Palestine Street. A compound grew around it that now contains around fifty buildings. Around 500 people are employed at this "Beit Rahbari compound" according to The Telegraph, "many recruited from the military and security services". Lifestyle According to Mehdi Khalaji, an Iran expert at the Washington Institute for Near East Policy, Khamenei has a decent life "without it being luxurious". Robert Tait of The Daily Telegraph commented that Khamenei is "renowned for a spartan lifestyle." Dexter Filkins describes Khamenei as presenting himself "as an ascetic, dressing and eating simply". In an interview with a women's magazine, his wife declared that "we do not have decorations, in the usual sense. Years ago, we freed ourselves from these things." On the other hand, Mother Nature Network claims Khamenei has been seen riding around in a BMW car and published a picture of him exiting one. In a 2011 report in The Daily Telegraph, defectors from Iran claimed Khamenei has a considerable appetite of caviar and trout, a stable of 100 horses, collects items such as pipes and (reputedly) 170 antique walking sticks, and has a private court stretching over six palaces. Intelligence sources have also said his family has extensive international business interests. Health Khamenei's health has been called into question. In January 2007, after he had not been seen in public for some weeks, and had not appeared as he traditionally does at celebrations for Eid al-Adha, rumours spread of his illness or death. Khamenei issued a statement declaring that "enemies of the Islamic system fabricated various rumors about death and health to demoralize the Iranian nation", but according to author Hooman Majd, he appeared to be "visibly weak" in photos released with the statement. On 9 September 2014, Khamenei underwent prostate surgery in what his doctors described in state news media as a "routine operation". According to a report by Le Figaro, Western intelligence sources said Khamenei has prostate cancer. Political life and presidency Khamenei was a key figure in the Iranian Revolution in Iran and a close confidant of Ruhollah Khomeini. Since the founding of the Islamic Republic, Khamenei has held many government posts. Muhammad Sahimi claims that his political career began after the Iranian Revolution, when the former President of Iran, Akbar Hashemi Rafsanjani, then a confidant of Khomeini, brought Khamenei into Khomeini's inner circle. Later on, the current President of Iran, Hassan Rouhani, then a member of Parliament, arranged for Khamenei to get his first major post in the provisional revolutionary government as deputy defense minister. Khomeini appointed Khamenei to the post of Tehran's Friday prayers Imam in 1980, after resignation of Hussein-Ali Montazeri from the post. He served briefly as the vice Minister of National Defence from late July to 6 November 1979 and as a supervisor of the Islamic Revolutionary Guards. He also went to the battlefield as a representative of the defense commission of the parliament. Assassination attempt Khamenei narrowly escaped an assassination attempt by the Mujahedin-e Khalq when a bomb, concealed in a tape recorder, exploded beside him. On 27 June 1981, while Khamenei had returned from the frontline, he went to the Aboozar Mosque according to his Saturdays schedule. After the first prayer, he began to give a lecture to worshipers who had written their questions on a piece of paper. Meanwhile, a tape recorder accompanied with papers was put on the desk in front of Khamenei by a young man who pressed a button. After a minute the loud speaker's sound become like whistle and suddenly the tape recorder exploded. "A gift of Furqan Group to the Islamic Republic" was written on the inner wall of the tape recorder. Ayatollah Khamenei's treatment took several months and his arm, vocal cords and lungs were seriously injured. He was permanently injured, losing the use of his right arm. As president In 1981, after the assassination of Mohammad-Ali Rajai, Khamenei was elected President of Iran by a landslide vote (97%) in the October 1981 Iranian presidential election in which only four candidates were approved by the Council of Guardians. Khamenei became the first cleric to serve in the office. Ruhollah Khomeini had originally wanted to keep clerics out of the presidency but later changed his views. Khamenei was reelected in 1985 Iranian presidential election where only three candidates were approved by the Council of Guardians, receiving 87% of the votes. The only Iranian presidential election that had fewer candidates approved by the Council of Guardians was the 1989 Iranian presidential election, where only two candidates were approved by the Council of Guardians to run, and Rafsanjani easily won 96% of the votes. In his presidential inaugural address Khamenei vowed to eliminate "deviation, liberalism, and American-influenced leftists". According to the Iran Chamber, vigorous opposition to the government, including nonviolent and violent protest, assassinations, guerrilla activity and insurrections, was answered by state repression and terror in the early 1980s, both before and during Khamenei's presidency. Thousands of rank-and-file members of insurgent groups were killed, often by revolutionary courts. By 1982, the government announced that the courts would be reined in, although various political groups continued to be repressed by the government in the first half of the 1980s. During Iran–Iraq war Khamenei was one of Iran's leaders during the Iran–Iraq War in the 1980s, and developed close ties with the now-powerful Revolutionary Guards. As president, he had a reputation of being deeply interested in the military, budget and administrative details. After the war In its 10 April 1997 ruling regarding the Mykonos restaurant assassinations, the German court issued an international arrest warrant for Iranian intelligence minister Ali Fallahian after declaring that the assassination had been ordered by him with knowledge of Khamenei and Rafsanjani. Iranian officials, however, have categorically denied their involvement. The then Iranian Parliament speaker Ali Akbar Nategh-Nouri dismissed the ruling as being political, untrue and unsubstantiated. The ruling led to a diplomatic crisis between the governments of Iran and several European countries, which lasted until November 1997. The accused assassins, Darabi and Rhayel, were finally released from prison on 10 December 2007 and deported back to their home countries. Supreme Leader Khamenei has fired and reinstated Presidential cabinet appointments. Iran's Chief Justice Sadeq Larijani, a Khamenei appointee, has warned the president of Iran against voicing opposition to Khamenei. Election as Supreme Leader In 1989 Ayatollah Khomeini dismissed Ayatollah Montazeri as his political successor, giving the position to Khamenei instead. Because Khamenei was neither a marja or ayatollah, the Assembly of Experts had to modify the constitution in order to award him the position of Iran's new Supreme Leader (a decision opposed by several grand ayatollahs). Khamenei officially succeeded Ruhollah Khomeini after Khomeini's death, being elected as the new Supreme Leader by the Assembly of Experts on 4 June 1989. Leadership council proposal Initially, the idea of leadership council was proposed by some members of Assembly of Experts. Various lists were proposed and Khamenei was named in all of them. For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran. According to Rafsanjani, he and Khamenei were against the proposal while Ayatollah Haeri Shirazi and Ayatollah Ebrahim Amini were in favor of it. Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council, while the opposers believed that an individual leader was more efficient according to the past experiences in case of Judiciary council. Ebrahim Amini listed the summary of reasons presented by the two sides. According to him the opposers rejected the proposal because: i) Evidences for Guardianship of the Islamic Jurist were true only for the guardianship of an individual and it was not clear who held the guardianship when there was a council. Guardianship of a council was not rooted in Hadiths and Islamic jurisprudence. ii) Previous council type organizations such as broadcasting council and supreme judicial council were not successful in practice and leadership council would not do well for similar reasons. iii) People were accustomed to the leadership of an individual and a council of leaders was something unfamiliar to them. iv) An individual leader could act more decisive when dealing with critical and important decisions and solving problems and crisis. On the other hand, the supporters of the proposal believed that: i) At the time, there were no Faqih equal to Khomeini or even two or three levels lower than him so that he could fulfill the expectation of people. ii) In case of council of leaders, the members could compensate each other, if any of them had some shortage in a field. Finally, 45 members voted against the leadership council proposal while more than 20 people were in favor of it and the proposal was rejected. After the assembly rejected the idea of a Leadership Council, Khamenei was elected Leader by 60 of the 74 members present with Grand Ayatollah Mohammad-Reza Golpaygani receiving the remaining 14 votes. Khamenei made protestations of his unworthiness -- "my nomination should make us all cry tears of blood" and debated with the mujtahids of the Assembly—but eventually accepted the post. Marjaʿiyyat criteria Since Khamenei was not a marja' at the time—which the Iranian constitution required—he was named as the temporary Supreme Leader. Later, the constitution was amended to remove that requirement and the Assembly of Experts reconvened on 6 August 1989, to reconfirm Khamenei with 60 votes out of 64 present. On 29 April 1989, responding to the letter of Ayatollah Meshkini, the head of committee responsible for revising the Constitution, asking Khomeini's viewpoint regarding the 'marjaʿiyyat criteria, Khomeini said: "From the very beginning, I believed and insisted that there is no need for the requirements of marjaʿiyyat (authority in jurisprudence). A pious mujtahid (jurist-intellectual), who is approved by the esteemed Assembly of Experts (Majlis-i Khobregan), will suffice." In a video that surfaced during the 2017–18 Iranian protests, Khamenei is seen before the assembly saying he was not religiously qualified to be Supreme leader. Khamenei, who was ranked as a Hujjat al-Islam and not a Marja' as required by the Iranian constitution, said he would only be a "ceremonial leader", and was reassured by Akbar Hashemi Rafsanjani the position would be "temporary" until a referendum, apparently planned for one year later. Political strategy and philosophy Khamenei's era has differed from that of his predecessor. He has, however, continued Khomeini's policy of "balancing one group against another, making sure that no single side gains too much power." But lacking Khomeini's charisma and clerical standing, he has developed personal networks, first inside the armed forces, and then among the clerics, while administering the major bonyads and seminaries of Qom and Mashhad. Having been Supreme Leader for three decades, Khamenei has been able to place many loyalists throughout Iran's major institutions, "building a system that serves and protects him". Former cleric Mehdi Khalaji and Saeid Golkar, describe Khamenei's system as having creating a "parallel structure" for each of the country's institutions (army, intelligence agencies, etc.) to keep those institutions weak. According to Vali Nasr of the Johns Hopkins School of Advanced International Studies, "[Khamenei] [took] many of the powers of the presidency with him and [turned] the office of the supreme leader into the omnipotent overseer of Iran's political scene". In Nasr's view, Khamenei is an "unusual sort of dictator". Officials under Khamenei influence the country's various powerful, and sometimes bickering, institutions, including "the parliament, the presidency, the judiciary, the Revolutionary Guards, the military, the intelligence services, the police agencies, the clerical elite, the Friday prayer leaders and much of the media", as well as various "nongovernmental foundations, organizations, councils, seminaries and business groups". Khamenei issues decrees and makes the final decisions on economy, environment, foreign policy and everything else in Iran. Khamenei regularly meets with president, cabinet members, head and officials of the judiciary branch, parliamentarians, among others, and tells them what to do. Khamenei has also fired and reinstated Presidential cabinet appointments. Khamenei meets with foreign dignitaries, however he does not travel overseas; if anyone wishes to see him, that person must travel to Iran. Apart from his time in Najaf as a student, Khamenei travelled to Libya during his time as President. In his speeches Khamenei regularly mentions many familiar themes of the 1979 revolution: justice, independence, self-sufficiency, Islamic government and resolute opposition to Israel and United States, while rarely mentioning other revolutionary ideals such as democracy and greater government transparency. According to Karim Sadjadpour of the Carnegie Endowment for International Peace, Khamenei has "resisted Rafsanjani's attempts to find a modus vivendi with the United States, Khatami's aspirations for a more democratic Islamic state, and Ahmadinejad's penchant for outright confrontation." Privatization of state-owned businesses In 2007, Khamenei called for the privatization of state-owned companies, including the telephone company, three banks and dozens of small oil and petrochemical enterprises. After a few months, at a televised meeting with then-President Mahmoud Ahmadinejad and his Cabinet ministers, important clerics, the leader of parliament and provincial governors, the heads of state broadcasting and the Iranian chamber of commerce, Khamenei ordered "to pass some laws, sell off some businesses, and be quick about it." Khamenei warned that "those who are hostile to these policies are the ones who are going to lose their interests and influence." Dispute regarding status as Grand Ayatollah In 1994, after the death of Grand Ayatollah Mohammad Ali Araki, the Society of Seminary Teachers of Qom declared Khamenei a new marja. Several ayatollahs, however, declined to recognize him as such. Some of those dissidents clerics included Mohammad Shirazi, Hossein-Ali Montazeri, Hassan Tabatabai-Qomi, and Yasubedin Rastegar Jooybari. In 1997, for example, Montazeri "questioned the powers of the Leader" and was subsequently punished for his comments with the closure of his religious school, an attack on his office in Qom, and a period of house arrest. Appointments The table below lists some of the incumbent senior officeholders in Iran directly appointed by the supreme leader (sorted by date of appointment): Fatwas and messages Fatwa regarding companions of Muhammad In 2010, Khamenei issued a fatwa which bans any insult to the Sahabah (companions of Muhammad) as well as Muhammad's wives. The fatwa was issued in an effort to reconcile legal, social, and political disagreements between Sunni and Shia. Amman Message Khamenei is one of the Ulama signatories of the Amman Message, which gives a broad foundation for defining Muslim orthodoxy. as well as elaborating on the factors needed to create Islamic unity, he argues: "neither the Shia Muslims allied with the British MI6 are Shias, nor the Sunni mercenaries of the American CIA are Sunnis, as they are both anti-Islamic." Fatwa against nuclear weapons Khamenei has reportedly issued a fatwa saying the production, stockpiling, and use of nuclear weapons was forbidden under Islam. The fatwa was cited in an official statement by the Iranian government at an August 2005 meeting of the International Atomic Energy Agency (IAEA) in Vienna. It's been widely discussed by international officials and specifically recognized by the US administration. The Iranian official website for information regarding its nuclear program has provided numerous instances of public statements by Khamenei wherein he voices his opposition to pursuit and development of nuclear weapons in moral, religious and Islamic juridical terms. Khamenei's official website specifically cites a 2010 version of these statements in the fatwa section of the website in Farsi as a fatwa on "Prohibition of Weapons of Mass Destruction". Doubts have been cast by experts on the existence of the fatwa as it can be changed or modified as and when deemed necessary, as well as doubts on its authenticity, its impact, and its apparently religious nature. Gareth Porter believes that the fatwa is "sincere" and Gholam-Hossein Elham commented that it will not change. Message(s) to Hajj pilgrims Sayyid Ali Khamenei annually issues message(s) on the occasion of Hajj for all Muslims (pilgrims) in Hajj. He commenced to issue such messages since the start of his responsibility as the supreme leader of Iran (1989). He continually invites all Muslims to Tawhid, and afterwards expresses concerning the significance of Hajj in spiritual/social life. He also asks the Muslims to be aware of what he considers "the conspiracy of the enemies" by having a right comprehension, and advises them to "not be deceived by them". So far, Iran's supreme leader has issued 32 messages (since 1989). A part of his last message (6 August 2019) is as follows: The ritual of Bara’ah which means refusing every instance of mercilessness, cruelty, wrongdoing and corruption of the tyrants of any time, and rising against intimidation and extortion by the arrogant throughout history, is one of the great blessings of Hajj, and an opportunity for oppressed Muslim nations. Women riding bicycles He issued a fatwa declaring women riding bicycles haram. Political power following reform era Khamenei developed a cult of personality; with supporters describing him as a "divine gift to mankind" and in which Khamenei critics are persecuted. According to Karim Sadjadpour of the American Carnegie Endowment for International Peace, several factors have strengthened Khamenei in recent years: (1) A vast network of commissars stationed in strategic posts throughout government bureaucracies, dedicated to enforcing his authority; (2) the weak, conservative-dominated parliament, headed by Khamenei loyalist Gholam-Ali Haddad-Adel (whose daughter is married to the Leader's son); (3) the rapidly rising political and economic influence of the Islamic Revolutionary Guards, whose top leaders are directly appointed by Khamenei and have always been publicly deferential to him; (4) the political disengagement of Iran's young population ...; and (5) most significant[ly], the 2005 presidential election, which saw hardliner Mahmoud Ahmadinejad trounce Khamenei's chief rival ... Hashemi Rafsanjani ... According to Christopher Dickey, in order to consolidate his power base, Khamenei has developed close relations with the security and military establishment, while also expanding the bureaucracy inside the government and around his Beit Rahbari compound. Financial assets Writing in The Daily Telegraph, Damien McElroy and Ahmad Vahdat observed: "The ayatollah likes to cultivate an image of austerity but receives major commissions from the Iranian oil and arms industries and there have been regular claims that he and his son have amassed a fortune running into billions of dollars." A six-month investigation by Reuters has said that Khamenei controls a "financial empire" worth approximately US$95 billion that is not overseen by the Iranian Parliament, a figure much larger than the estimated wealth of the late Shah of Iran. According to the Reuters investigation, Khamenei uses the assets of a company called Headquarters for Executing the Order of the Imam or "Setad" in Farsi, in order to increase his grip on power. Reuters "found no evidence that Khamenei is tapping Setad to enrich himself," but did find that he used Setad's funds, which "rival the holdings of the shah", for political expedience – "Setad gives him the financial means to operate independently of parliament and the national budget, insulating him from Iran's messy factional infighting." According to The Daily Telegraph, money from Setad is used to fund Khamenei's Beit Rahbari compound, which employs over 500 stewards, as was reported in 2013. Hamid Vaezi, Setad's head of public relations, said the information "was far from realities and is not correct". The six-month investigation by Reuters into found that, regarding the source of Setad's funds, "Setad built its empire on the systematic seizure of thousands of properties belonging to ordinary Iranians: members of religious minorities like Vahdat-e-Hagh, who is Baha'i, as well as Shi'ite Muslims, business people and Iranians living abroad." Despite the negative accounts of Western sources, Iranian official sources depict Setad as a vast charity foundation. In an interview in October 2014 with Islamic Republic News Agency, Muhammad Mukhber, the head of Setad, stated that over 90% of profits from Setad business activities are spent on improving infrastructure in the poor regions of the country, creating jobs and improving the well-being of people in these regions reflecting the top concerns of Iran's Supreme Leader, Khamenei for the Iranian society. He state that 85 percent of Setad's charitable works take place in poor regions of Iran. He cited construction of several hundred schools, mosques and hussainiyas, as well as direct and indirect contribution to formation of over 350 thousands jobs expecting a total of 700 thousands for the upcoming three years. Mukhber also cited a sum total grant of 2.21 trillion rials of Qard al-Hasan, interest-free loans, to 41 thousands families in poor regions of the country. He also revealed plans of gradual sell-off of Setad profitable businesses in the stock market with the aim of transferring their ownership into the hands of Iranian people. He also envisioned construction and delivery of 17 thousands housing units to families in poor regions of Iran by 2018. Challenges following 2009 election protest In mid-August 2009, a group of unnamed former reformist lawmakers appealed to the Assembly of Experts – the constitutional body charged with electing and (in theory) supervising and removing the Leader – to investigate Leader Ali Khamenei's qualification to rule. A week later another anonymous letter was issued "calling Iran's leader a dictator and demanding his removal", this one by a group of Iranian clerics. The letters were called a blow to Khamenei's "status as a neutral arbiter and Islamic figurehead" and an "unprecedented challenge to the country's most powerful man" though not a blow to his actual power as leader. The New York Times reports "the phrase 'death to Khamenei' has begun appearing in graffiti on Tehran walls, a phrase that would have been almost unimaginable not long ago." The letter was addressed to the head of the Assembly of Experts, Ayatollah Akbar Hashemi Rafsanjani, a "powerful former president" who also questions the election results. According to the Associate Press it is unlikely the letter's demands would be met as "two-thirds of the 86-member assembly are considered strong loyalists of Khamenei and would oppose" any investigation of him. According to The New York Times reporting in mid-August 2009, a "prominent Iranian cleric and a former lawmaker said on Sunday that they had spoken to some of the authors and had no doubt the letter was genuine". According to this cleric, the letter's signatories number "several dozen, and are mostly midranking figures from Qum, Isfahan and Mashhad", and that "the pressure on clerics in Qum is much worse than the pressure on activists because the establishment is afraid that if they say anything they can turn the more traditional sectors of society against the regime". Relations with former President Ahmadinejad Early in his presidency, Ahmadinejad was sometimes described as "enjoy[ing] the full backing" of the Supreme Leader , and even as being his "protege." In Ahmadinejad's 2005 inauguration the supreme leader allowed Ahmadinejad to kiss his hand and cheeks in what was called "a sign of closeness and loyalty," and after the 2009 election fully endorsed Ahmadinejad against protesters. However, as early as January 2008 signs of disagreement between the two men developed over domestic policies, and by the period of 2010–11 several sources detected a "growing rift" between them. The disagreement was described as centered on Esfandiar Rahim Mashaei, a top adviser and close confidant of Ahmadinejad and opponent of "greater involvement of clerics in politics", who was first vice president of Iran until being ordered to resign from the cabinet by the supreme leader. In 2009, Ahmadinejad dismissed Intelligence Minister Gholam-Hossein Mohseni-Eje'i, an opponent of Mashaei. In April 2011, another Intelligence minister, Heydar Moslehi, resigned after being asked to by Ahmadinejad, but was reinstated by the supreme leader within hours. Ahmadinejad declined to officially back Moslehi's reinstatement for two weeks and in protest engaged in an "11-day walkout" of cabinet meetings, religious ceremonies, and other official functions. Ahmadinejad's actions led to angry public attacks by clerics, parliamentarians and military commanders, who accused him of ignoring orders from the supreme leader. Conservative opponents in parliament launched an "impeachment drive" against him, four websites with ties to Ahmadinejad reportedly were "filtered and blocked", and several people "said to be close" to the president and Mashaei (such as Abbas Amirifar and Mohammed Sharif Malekzadeh) were arrested on charges of being "magicians" and invoking djinns. On 6 May 2011, it was reported that Ahmadinejad had been given an ultimatum to accept the leader's intervention or resign, and on 8 May he "apparently bowed" to the reinstatement, welcoming back Moslehi to a cabinet meeting. The events have been said to have "humiliated and weakened" Ahmadinejad, though the president denied that there had been any rift between the two, and according to the semiofficial Fars News Agency, he stated that his relationship with the supreme leader "is that of a father and a son." In 2012, Khamenei ordered a halt to a parliamentary inquiry into Ahmadinejad's mishandling of the Iranian economy. In 2016, Khamenei advised Mahmoud Ahmadinejad, his former ally with whom his relationship was strained after Ahmadinejad accused his son Mojtaba Khamenei of embezzling from the state treasury, to not run for president again. Domestic policy Khamenei is regarded by some as the figurehead of the country's conservative establishment. Khamenei supported Mesbah Yazdi describing him as one of Iran's most credible ideologues prior to the 2005 election, but has reportedly "recently been concerned about Mesbah's political ambitions." In 2007, Khamenei requested that government officials speed up Iran's move towards economic privatization. Its last move towards such a goal was in 2004, when Article 44 of the constitution was overturned. Article 44 had decreed that Iran's core infrastructure should remain state-run. Khamenei also suggested that ownership rights should be protected in courts set up by the Justice Ministry; the hope was that this new protection would give a measure of security to and encourage private investment. In 2007, Iranian police under the direction of Khamenei launched a "Public Security Plan", arresting dozens of "thugs" to increase public security. Additionally, Khamenei has stated that he believes in the importance of nuclear technology for civilian purposes because "oil and gas reserves cannot last forever." On 30 April 2008, Ali Khamenei backed President Ahmadinejad's economic policy and said the West was struggling with more economic difficulties than Iran, with a "crisis" spreading from the United States to Europe, and inflation was a widespread problem. The Iranian leader said that the ongoing economic crisis which has crippled the world has been unprecedented in the past 60 years. "This crisis has forced the UN to declare state of emergency for food shortages around the globe but foreign radios have focused on Iran to imply that the current price hikes and inflation in the country are the results of carelessness on the part of Iranian officials which of course is not true", he said. Khamenei emphasized that no one has the right to blame the Iranian government for Iran's economic problems. He also advised people and the government to be content and avoid waste in order to solve economic problems. "I advise you to keep in your mind that this great nation is never afraid of economic sanctions", he added. Presidential, parliamentary, and Assembly of Experts elections As Supreme Leader, Khamenei has influence over elections in Iran since the Constitution of Iran allows him to appoint half of the members of the Guardian Council and the Chief Justice of Iran. The Constitution also establishes that the Council approves or disqualifies candidates for office while the Chief Justice presents the other half of the members of the Council to be selected by Parliament. These constitutional provisions give Khamenei direct and indirect influence over the Council; an entity that, in turn, has direct influence over who can run for government. This influence was evident in the 2004 parliamentary elections, in which the Guardian Council disqualified thousands of candidates from running—including 80 incumbents, many of the reformist members of Parliament, and all the candidates of the Islamic Iran Participation Front party. Subsequently, the conservatives won about 70 percent of parliamentary seats. The election became a key turning point in the country's political evolution as it marked the end of the campaign for political and social reform initiated by former President Mohammad Khatami. During the 2005 presidential election, Khamenei's comments about importance of fighting corruption, being faithful to the ideals of the Islamic revolution, as well as on the superior intelligence and dynamism of those who studied engineering, were interpreted by some as a subtle endorsement of Mahmoud Ahmadinejad (who had a PhD in traffic engineering). After the election, and until recently, Khamenei was outspoken in his support for Ahmadinejad, and "defended him publicly in ways which he never" had reformist president Khatami. Khamenei would later certify the results of the 2009 Iranian Presidential election. Khamenei took a firm stand against the 2009–10 Iranian election protests, and stated that he will neither reconsider vote results nor bow to public pressure over the disputed reelection of President Mahmoud Ahmadinejad. "By Allah's favor, the presidential election was accurately held, and the current matters should be pursued legally." In a public appearance on 19 June he expresses his support for the declared winner Ahmadinejad and accused foreign powers—including Britain, Israel and the United States—of helping foment protest against the election results. In particular, he singled out Britain, perceiving the country as the "most evil" of its enemies. He said that the Iranian people will respond with an "iron fist" if Western powers meddle in Iran's internal affairs. In response to reformist gains in the 2015–2016 election cycle, Khamenei lamented the loss of conservative clerics from the Assembly of Experts and suggested changes to the law by which the Guardian Council vets candidates may be needed because it is currently too difficult for the Guardian Council to vet so large a number of candidates. Science and technology Ali Khamenei has been supportive of scientific progress in Iran. He was among the first Islamic clerics to allow stem cell research and therapeutic cloning. In 2004, Khamenei said that the country's progress is dependent on investment in the field of science and technology. He also said that attaching a high status to scholars and scientists in society would help talents to flourish and science and technology to become domesticated, thus ensuring the country's progress and development. Foreign policy Khamenei has "direct responsibility" for foreign policy, which "cannot be conducted without his direct involvement and approval". He has a foreign policy team independent of the president's "which includes two former foreign ministers" and "can at any time of his choosing inject himself into the process and 'correct' a flawed policy or decision." His foreign policy is said to steer a course that avoids either confrontation or accommodation with the West. Khamenei condemned the Saudi Arabian-led intervention in Yemen and compared Saudi Arabia to Israel. Khamenei condemned the persecution of Rohingya Muslims in Myanmar and called Myanmar's de facto leader and Nobel Peace Prize laureate Aung Sang Suu Kyi a "brutal woman". U.S. Secretary of State Mike Pompeo criticized Khamenei for his refusal to condemn the Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority in China. Beliefs about the United States and its foreign policy The United States and Iran have had no formal diplomatic relations since the Iran hostage crisis of 1980 when US embassy was taken over and US diplomats were taken prisoner. According to study by Karim Sadjadpour, speeches by Khamenei regularly mention the principle of resolute opposition to the United States; and according to Karim Sadjadpour he has "resisted Rafsanjani's attempts to find a modus vivendi with the United States", and once told reformist president Mohammad Khatami that "we need the United States as an enemy". On 4 June 2006, Khamenei said that Iran would disrupt energy shipments from the Persian Gulf region (about 20% of the world's daily supply of oil passes from the Persian Gulf through the Strait of Hormuz very close to Iran's coast) should the country come under attack from the US, insisting that Tehran will not give up its right to produce nuclear fuel. On 14 September 2007, Ayatollah Ali Khamenei (on the 1st Friday prayer of Ramadan) predicted that George W. Bush and American officials will one day be tried in an international criminal court to be held "accountable" for the U.S. led invasion of Iraq. He asserts that the United States is the main cause of insecurity in Iraq. On 21 March 2009, a day after US President Barack Obama advocated a "new beginning" in diplomatic relations between the two countries, Khamenei said a change of US "words" was not enough and added: "We will watch and we will judge (the new US administration) ... You change, our behavior will change." He rejected US foreign policy since the Islamic revolution, insisted the United States is "hated in the world" and should end its interference in other countries. Khamenei criticized the NATO-led military intervention in Libya. On 21 March 2011, Khamenei accused the West of having "come after Libyan oil". He also stressed that "Iran utterly condemns the behaviour of the Libyan government against its people, the killings and pressure on people, and the bombing of its cities... but it (also) condemns the military action in Libya". Khamenei stated that he support sending mediators rather than bombing the country. In June 2011, Khamenei accused the United States government of terrorism and rejected the American definition of terrorism; he was quoted as saying, "The U.S. and the European governments that follow it describe Palestinian combatant groups who fight for the liberation of their land as terrorists." In June 2012, Khamenei warned Western governments that the mounting sanctions on the country will only deepen the Iranians' hatred of the West. In October 2014, Khamenei said the U.S. and the U.K. created ISIS as a tool to fight Iran and "create insecurity" in the region. On 19 July 2015, while speaking at a mosque in Tehran, Khamenei said to his supporters that the policies of the United States in the region were "180 degrees" opposed to Iran's political and religious movement. The speech was punctuated by chants of "Death to America" and "Death to Israel". Khamenei said in regards to the 2015 nuclear deal that "Even after this deal our policy towards the arrogant U.S. will not change." U.S. Secretary of State John Kerry said that if the comments reflected policy, it was "very disturbing", and "very troubling". In March 2020, Khamenei warned against a United States offer of aid to fight COVID-19 on the grounds that it could be a way to hurt Iran by further spreading the disease. He also suggested the US had developed a special variety of the virus "based on Iranian genetic information they have gathered", although he provided no evidence for the theory. Khamenei explained, “There are enemies who are demons, and there are enemies who are humans, and they help one another." Condemnation of 11 September attacks After the 11 September attacks, Khamenei condemned the act and the attackers and called for a condemnation of terrorist activities all over the world, but warned strongly against a military intervention in Afghanistan. He is quoted as saying, "Mass killings of human beings are catastrophic acts which are condemned wherever they may happen and whoever the perpetrators and the victims may be." Zionism and Israel Khamenei is an opponent of the State of Israel and Zionism, and has been criticized for anti-Semitic rhetoric and for making threats against Israel. On 15 December 2000, Khamenei called Israel a "cancerous tumor of a state" that "should be removed from the region" and in 2013 called Israel a "rabid dog", as well as in 2014 during the Gaza war, for what he called attacking innocent people. In 2014, a tweet from an account attributed to Khamenei, claimed that there was no cure for Israel but its annihilation. In a September 2008 sermon for Friday prayers in Tehran, Khamenei stated that "it is incorrect, irrational, pointless and nonsense to say that we are friends of Israeli people", because he believed that the occupation is done by the means of them. "[U]surpation of houses, lands, and business [of Palestinian people] are carried out using these people. They are the background actors of Zionist elements," said Khamenei in his speech. "[W]e have no problem with Jews and Christians ... we have problem with the usurpers of Palestine land," he added. Also, he said that he had raised the issue "to spell an end to any debates". In 2013, Khamenei accused France of "kneeling" before Israel, while saying that Israel was led by people unworthy of the "title human". Nevertheless, according to anti-regime change activist Abbas Edalat, in 2005 Khamenei responded to a remark by then-President Ahmadinejad which had been widely translated as saying that the "regime occupying Jerusalem should be wiped off the map" by saying that "the Islamic Republic has never threatened and will never threaten any country." In a September 2009 sermon, Khamenei was quoted as saying, that "the Zionist cancer is gnawing into the lives of Islamic nations." In another report of the same speech, he added that "we will support and help any nations, any groups fighting against the Zionist regime across the world, and we are not afraid of declaring this." Khamenei instead proposed that "Palestinian refugees should return and Muslims, Christians and Jews could choose a government for themselves, excluding immigrant Jews," adding "No one will allow a bunch of thugs, lechers and outcasts from London, America and Moscow to rule over the Palestinians." On 10 September 2015, in a speech about Israel after agreement on the nuclear program of Iran, Khamenei made a remark "Israel will not exist in 25 years". For the first time, the remark was published in Khamenei's official website and his Twitter. This statement was reported as voted as the best and most important among Khamenei's statements in 2015 by an online poll conducted by his official website. On 21 February, at the 6th International Conference in Support of the Palestinian Intifada, Khamenei regarded withdrawal of Israel from south Lebanon in 2000 and from Gaza in 2005 as two major achievements so far. Also, he advised the Islamic countries to refrain from "useless" crises and differences and instead concentrate on the issue of Palestine which he regarded as the core issue of Islam. "Otherwise, the potentials and capabilities of the nations will go to waste in the face of vain struggles, which would provide opportunities for the Zionist regime to become even stronger," he added. Khamenei condemned peace agreement between Israel and the United Arab Emirates and charged UAE with betraying the Islamic world, the Arab countries and Palestine. He stated that the normalization will be only temporary, but the UAE will forever have to bear the shame regarding the deal. Holocaust denial On 21 March 2014, during a morning speech marking the Persian New Year, Nowruz, Khamenei called into question the Holocaust. He said that "the Holocaust is an event whose reality is uncertain and if it has happened, it's uncertain how it has happened". Additionally he commented that "No one in European countries dares to speak about [the] Holocaust" (because of the potential legal consequences in some countries), and said that in the West, "speaking about [the] Holocaust and expressing doubts about it is considered to be a great sin." The Anti-Defamation League accused Khamenei in March 2014 of making statements of explicit Holocaust denial. On Holocaust Memorial Day, 27 January 2016, Khamenei posted a Holocaust denying video on his official website. In the video (drawing on the March 2014 speech), lasting about three minutes, the video features images of Holocaust deniers Roger Garaudy, Robert Faurisson, and David Irving. In a series of tweets in mid-December 2019, he praised Garaudy: "The fight he engaged in against the Zionists is a #DivineDuty for all those who respect the #Truth." France's conviction of Garaudy, he said, was against the concept of freedom of speech. Human rights, freedoms, protests, Islamic law Critics have accused Khamenei of overseeing the assassination of as many as 160 exiled defectors worldwide, the heavy handed repression of protesters, the killings of tens of thousands of members of the M.E.K. (People's Mujahedin of Iran) paramilitary group, and of making dissident writers and intellectuals in Iran "a special target" of repression, among other infractions of human rights. However, Khamenei himself has insisted human rights are a fundamental principle underlying Islamic teachings, that precedes western concern for human rights by many centuries. He has attacked Western powers who have criticized the rights record of the Islamic Republic for hypocrisy saying that these countries economically oppress people in Third World countries and support despots and dictators. In response to Western complaints of human rights abuses in Iran he has stated that the American administration has committed many crimes and is therefore not fit to judge the Islamic Republic. Protests during leadership There have been several major protests during Khamenei's reign, including the 1994 Qazvin Protests—where, according to Al-Arabiya, around 40 people were killed and over 400 were injured— the 1999 Iranian student protests, the 2009 Iranian presidential election protests, when protesters chanted "death to the dictator", and ripped down pictures of Khamenei, as well as the 2011–12 Iranian protests and 2017–18 Iranian protests, among others. In 2016, Khamenei, who outlines the elections guidelines "in line with Article 110 of Iran's Constitution", asked to maximize the amount of transparency in elections in Iran, using modern technologies. During the Mahshahr massacre, protests expanded against "government corruption, failing institutions, lack of freedoms and the repressive rule of Iran's supreme leader, Ayatollah Ali Khamenei." During the 2018–2019 Iranian general strikes and protests, Khameini demanded punishment for those “who disrupt economic security”. According to Reuters, the remarks were "clearly intended to send a message to Iranians who may plan more demonstrations". During the 2019–2020 Iranian protests, Khamenei met with various officials and cabinet members, saying "he would hold the assembled officials responsible for the consequences of the protests if they didn't immediately stop them." According to an official, Khamenei "made clear the demonstrations required a forceful response" and that "rioters should be crushed." During the Ukraine International Airlines Flight 752 protests, thousands of protesters demanded Ayatollah Ali Khamenei's resignation. Minorities The Baháʼí Faith is the largest religious minority in Iran, with around 300,000 members (8,000,000 members worldwide) and is officially considered a dangerous cult by Iranian government. It is banned in Iran and several other countries. Khamenei has approved new legislation against Baháʼís in Iran and lessen their influence abroad. According to a letter from the Chairman of the Command Headquarters of the Armed Forces in Iran addressed to the Ministry of Information, the Revolutionary Guard, and the Police Force, Khamenei has also ordered the Command Headquarters to identify people who adhere to the Baháʼí Faith and to monitor their activities and gather any and all information about the members of the Baháʼí Faith. Relationship with the press In 2000, he was listed by the Committee to Protect Journalists as "one of the top ten enemies of the press and freedom of expression", and was named to the Time 100 in 2007. Opposition journalists Ahmad Zeidabadi, Mohsen Sazegara, Mohammad Nourizad and Akbar Ganji were arrested and investigated for spreading critical articles containing unproven charges against Khamenei's policies as the leader and some organizations. According to the Iran's Press Law "spreading rumors and lies and distorts the words of others" is not allowed. Also, according to the law, "spreading libel against officials, institutions, organizations and individuals in the country or insulting legal or real persons who are lawfully respected, even by means of pictures or caricatures" is not allowed. Among his controversial actions were his rejection of a bill presented by the Iranian parliament in 2000 that aimed to reform the country's press law, and the disqualification of thousands of parliamentary candidates for the 2004 Iranian legislative election by the Guardian Council he appointed. In 2012, 2013, and 2014, Forbes selected Khamenei as the 21st, 23rd, and 19th most powerful person in the world, respectively, in the list of The World's Most Powerful People. Trials of people for insulting Khamenei Several journalists, bloggers, and other individuals were put on trial in Iran for the charge of insulting the Supreme Leader, often in conjunction with blasphemy charges. In 1996, Abbas Maroufi was sentenced to 35 lashes and 6 months imprisonment for spreading lies and insulting Khamenei. Maroufi was also banned from working as a journalist and his literary monthly Gardoon was closed. Maroufi had compared Khamenei to former Shah of Iran Mohammed Reza Pahlavi. In 2005, an Iranian was jailed for two years for insulting Khamenei and Imam Khomeini while being cleared of insulting the prophet. In 2009, Iranian blogger Omid Reza Mir Sayafi who was arrested for insulting Khamenei in an internet post, died while in custody in Evin Prison. In 2010, opposition activist Ahmad Gabel was sentenced to 20 months in jail for insulting Khamenei, as well as 3 additional years for possessing a satellite receiver, a 3-year exile and a fine. In 2014, eight men including a Briton were sentenced for 19 to 20 years for insulting Khamenei and other charges relating to Facebook comments. In 2017, Sina Dehghan was sentenced to death for insulting the prophet, with an additional 16-month sentence for insulting Khamenei in a messaging application. Interpretation of Islamic law In 2000, Ali Khamenei sent a letter to the Iranian parliament forbidding the legislature from debating a revision of the Iranian press law. He wrote: "The present press law has succeeded to a point in preventing this big plague. The draft bill is not legitimate and in the interests of the system and the revolution." His use of "extra-legislative power" has been criticized by reformists and opposition groups. In reaction to the letter, some Parliament members voiced outrage and threatened to resign. Kayhan and Jomhuri-ye Eslami are two newspapers published under the management of Khamenei. In late 1996, following a fatwa by Khamenei stating that music education corrupts the minds of young children, many music schools were closed and music instruction to children under the age of 16 was banned by public establishments (although private instruction continued). Khamenei stated, "The promotion of music [both traditional and Western] in schools is contrary to the goals and teachings of Islam, regardless of age and level of study." In 1999, Khamenei issued a fatwa stating that it was permitted to use a third-party (donor sperm, ova or surrogacy) in fertility treatments. This was different in "both style and substance" to the fatwa on Assisted Reproductive Technology (ART) by Gad El-Hak Ali Gad El-Hak of Egypt's Al-Azhar University in the late 1980s which permitted ART (IVF and similar technologies) as long there is no third-party donation (of sperm, eggs, embryos, or uteruses). In 2002, he ruled that human stem cell research was permissible under Islam, with the condition that it be used to create only parts as opposed to a whole human. In 2002, after protests erupted in the capital, Khamenei intervened against the death sentence given to Hashem Aghajari for arguing that Muslims should re-interpret Islam rather than blindly follow leaders. Khamenei ordered a review of the sentence against Aghajari and it was later commuted to a prison sentence. Women's rights In July 2007, Khamenei criticized Iranian women's rights activists and the Convention on the Elimination of All Forms of Discrimination Against Women (CEDAW): "In our country ... some activist women, and some men, have been trying to play with Islamic rules in order to match international conventions related to women", Khamenei said. "This is wrong." Khamenei made these comments two days after Iranian women's rights activist Delaram Ali was sentenced to 34 months of jail and 10 lashes by Iran's judiciary. Khamenei is an advocate of Islamic practice of Hijab. He believes that hijab is aimed at honoring women. To the Western objection to the compulsory hijab in Iran, he responds by pointing out the compulsory unveiling in certain western countries and obstacles created for veiled Muslim women who want to enter universities. He further argues that women in the West have lost their honor by pointing out perceived high rate of sexual violence in the West as well as the widespread exploitation of female sexual appeal for commercial purposes: "In effect, they have been treating women like a commodity, like another of their products. If you were to look at the magazines, which are published in the West, you would see that they advertise a commodity for sale next to the naked picture of a woman. Can you imagine a bigger insult to women? They [the West] must be answerable [not Islam]." Ali Khamenei believes in gender segregation. Khamenei also believes that gender equality is a Zionist plot with the purpose to "corrupt the role of women in society". Khamenei argues that "Today, homosexuality is a major problem in the western world. They [western nations] however ignore it. But the reality is that homosexuality has become a serious challenge, pain and unsolvable problem for the intellectuals in the west." Literature and art Khamenei has stated that "poetry must be the vanguard of the caravan of the [Islamic] revolution... [T]hrough the arts and literature, the revolution can be exported in an easier and more honest way.” It has been suggested (by Dexter Filkins) that this might explain his interest in banning books, prohibiting newspapers and imprisoning artists. He has expressed interest in the study of the novels and stories since childhood and studied various world's credible novels. He was "fascinated by Jean-Paul Sartre and Bertrand Russell" in his youth. He praised the works of Mikhail Sholokhov, Alexei Tolstoy, Honoré de Balzac, and Michel Zévaco. However, Victor Hugo's Les Misérables "is the best novel that has been written in history." He explained: He suggested reading The Grapes of Wrath to "an audience of writers and artists" and Uncle Tom's Cabin to the high-level state managers as he thought it shed light on the history of United States. Isn't this the government that massacred the original native inhabitants of the land of America? That wiped out the American Indians? ... Today, one of the most tragic works of art is Uncle Tom's Cabin ... This book still lives after almost 200 years, Khamenei is fluent in Arabic in addition to his native languages, Persian and Azerbaijani. He has translated several books into Persian from Arabic, including the works of the Egyptian Islamic theoretician Sayyid Qutb. He speaks Azerbaijani, his father's native language. When it comes to poetry, in Mashhad he used to participate in the literary associations along with known poets and used to critique poems. Writing some poems himself, he chose pseudonym 'Amin' for himself. In the field of music, he is known to have a good singing voice and plays the tar, a traditional Iranian stringed instrument. Public diplomacy Islamic awakening In February 2011, Ali Khamenei supported the Egyptian uprising against their government, describing it as Islamic awakening instead of Arab Spring. Trying to communicate with Arab people, he addressed Egypt's protesters in Arabic. (Even though his native language is Persian.) He introduced himself as "your brother in religion", while praising the "explosion of sacred anger". Later, in "Islamic Awakening conferences" which were held in Tehran, Khamenei praised the Muslim youths of Tunisia, Libya, Egypt, Yemen and Bahrain for what he described as Islamic awakening. He also paralleled these events with Islamic revolution in Iran during his Nowruz oration in 2011. However, major protests against the Iranian regime also broke out throughout Iran in 2011, and they became known as the 2011–12 Iranian protests. Works Four main books of Rijal An Outline of Islamic Thought in the Quran Honest leader Discourse on Patience (translation by Sayyid Hussein Alamdar available online) Iqbal: Manifestation of the Islamic Spirit, Two Contemporary Muslim Views Iqbal, the Poet-Philosopher of Islamic Resurgence is one of the "Two Contemporary Muslim Views", the other one is Ali Shariati's. Replies to Inquiries about the Practical Laws of Islam (PDF version) Lessons from the Nahjul-Balaghah Human Rights in Islam The Charter of Freedom Essence of Tawhid: Denial of Servitude but to God Translations from Arabic: Future in the realm of Islam Collections: A 250 Years Old Person Palestine See also Khamenei family Motto of years in Islamic Republic of Iran Footnotes References External links Official The Office of the Supreme Leader of Iran Official English-language Twitter account Photo Pictures in Iran-Iraq War, tarikhirani.ir Ali Khamenei gallery in Khamenei's website Media Videos Video Archive of Ayatollah Khamenei Ayatollah Khamenei in the city of Ardabil reading different poems in Azerbaijani language about Imam Hussein and events in Karbala. \|- \|- \|- \|- \|- \|- 1939 births Living people 20th-century translators Al-Husayni family Anti-Americanism Central Council of the Islamic Republican Party members Combatant Clergy Association politicians Commanders-in-Chief of Iran Council of the Islamic Revolution members Deputies of Tehran, Rey, Shemiranat and Eslamshahr Grand ayatollahs Iranian Azerbaijani grand ayatollahs and clerics Iranian Azerbaijani politicians Iranian grand ayatollahs Iranian Holocaust deniers Iranian individuals subject to the U.S. Department of the Treasury sanctions Iranian Islamists Iranian people of the Iran–Iraq War Iranian poets Iranian politicians with physical disabilities Iranian religious leaders Iranian revolutionaries Iranian scholars Iranian Shia Muslims Iranian translators Islamic Republican Party secretaries-general Members of the 1st Islamic Consultative Assembly Members of the Assembly of Experts People from Mashhad People of the Iranian Revolution Presidents of Iran Shia scholars of Islam Specially Designated Nationals and Blocked Persons List Supreme Leaders of Iran Theocrats Qom Seminary alumni	true	[ "White City, Swansea Greyhound Track was a greyhound racing track in Fforestfach, north-west of Swansea, Wales. It is not to be confused with the Fforestfach track on Ystrad Road that was built later and was called the Swansea Greyhound Stadium.\n\nGreyhound Racing started near Pen-llwyn-eithin Farm on 7 July 1928 when over 5,000 attended the race meeting. The first winner was Paddy Braun at 3-1 over 525 yards and the racing was held under National Greyhound Racing Club rules.\n\nThe track has been referenced as Pen-llwyn-eithin, Penllenddan and Penwyneiddan which is probably why it gained the nickname White City. The track was located on the east side of Pen-llwyn-eithin Farm and was west of the Crockett Rail Goods Yard Railway. The track is named as Penllenddan Farm, Swansea on the 1946 betting licence lists and is shown as having a capacity of 2,500 people but the track is believed to have closed around the same time and did not appear on the 1947 lists.\n\nThe Mettoy (Toys) factory was built in 1948 and covered what was the south part of the greyhound track.\n\nReferences\n\nDefunct greyhound racing venues in the United Kingdom\nGreyhound racing in Wales", "\"Something Different\" is a single by American boy band Why Don't We. It was released on April 21, 2017, and is the lead single from their second EP of the same name.\n\nThe song peaked at number 22 on the US Bubbling Under Hot 100 Singles chart.\n\nIn 2018, the song was ranked seventieth by Billboard in their compilation of the 100 Greatest Boyband Songs of All Time.\n\nMusic video\nThe music video was uploaded on YouTube on April 27, 2017. It was directed by Logan Paul and has over 50 million views.\n\nRemixes \nOn September 8, 2017, remixes of the song by producers Boehm, Feenixpawl, and B-Sights were released digitally.\n\nTrack listing\n\nCharts\n\nRelease history\n\nReferences\n\n2017 singles\n2017 songs\nWhy Don't We songs\nSongs written by Candice Pillay" ]
[ "Ali Khamenei", "Leadership council proposal", "what did he propose?", "Various lists were proposed and Khamenei was named in all of them.", "what were these lists?", "For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran.", "why was his name on all the lists?", "Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council," ]	C_a2f43975a2fa421682c631d34e71caee_1	what kind of changes did he help on counsel?	4	what kind of changes did Ali Khamenei help on counsel?	Ali Khamenei	Initially, the idea of leadership council was proposed by some members of Assembly of experts. Various lists were proposed and Khamenei was named in all of them. For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran. According to Rafsanjani, he and Khamenei were against the proposal while Ayatollah Haeri Shirazi and Ayatollah Ebrahim Amini were in favor of it. Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council, while the opposers believed that an individual leader was more efficient according to the past experiences in case of Judiciary council. Ebrahim Amini listed the summary of reasons presented by the two sides. According to him the opposers rejected the proposal because: i) Evidences for Guardianship of the Islamic Jurist were true only for the guardianship of an individual and it was not clear who held the guardianship when there was a council. Guardianship of a council was not rooted in Hadiths and Islamic jurisprudence. ii) Previous council type organizations such as broadcasting council and supreme judicial council were not successful in practice and leadership council would not do well for similar reasons. iii) People were accustomed to the leadership of an individual and a council of leaders was something unfamiliar to them. iv) An individual leader could act more decisive when dealing with critical and important decisions and solving problems and crisis. On the other hand, the supporters of the proposal believed that: i) At the time, there were no Faqih equal to Khomeini or even two or three levels lower than him so that he could fulfill the expectation of people. ii) In case of council of leaders, the members could compensate each other, if any of them had some shortage in a field. Finally, 45 members voted against the leadership council proposal while more than 20 people were in favor of it and the proposal was rejected. After the assembly rejected the idea of a Leadership Council, Khamenei was elected Leader by 60 of the 74 members present with Grand Ayatollah Mohammad-Reza Golpaygani receiving the remaining 14 votes. Though Khamenei opposed this and argued heavily against the decision, he eventually accepted it after debating with the mujtahids of the Assembly. CANNOTANSWER	CANNOTANSWER	Sayyid Ali Hosseini Khamenei (, ; born 19 April 1939) is a Twelver Shia Marja' and the second and current supreme leader of Iran, in office since 1989. He was previously the third president of Iran from 1981 to 1989. Khamenei is the longest serving head of state in the Middle East, as well as the second-longest serving Iranian leader of the last century, after Shah Mohammad Reza Pahlavi. According to his official website, Khamenei was arrested six times before being sent into exile for three years during Mohammad Reza Pahlavi's reign. After the Iranian revolution overthrowing the shah, he was the target of an attempted assassination in June 1981 that paralysed his right arm. Khamenei was one of Iran's leaders during the Iran–Iraq War in the 1980s, and developed close ties with the now powerful Revolutionary Guards which he controls, and whose commanders are elected and dismissed by him. The Revolutionary Guards have been deployed to suppress opposition to him. Khamenei served as the third President of Iran from 1981 to 1989, while becoming a close ally of the first Supreme Leader, Ruhollah Khomeini. Shortly before his death, Khomeini had a disagreement with the heir he had chosen — Hussein Ali Montazeri — so there was no agreed on successor when Khomeini died. The Assembly of Experts elected Khamenei as the next Supreme Leader on 4 June 1989, at age 50. According to Akbar Hashemi Rafsanjani, Khamenei was the man Khomeini had chosen as his successor before dying. Khamenei has been head of the servants of Astan Quds Razavi since 14 April 1979. As Supreme Leader, Khamenei is the most powerful political authority in the Islamic Republic. He is the head of state of Iran, the commander-in-chief of its armed forces, and can issue decrees and make the final decisions on the main policies of the government in many fields such as economy, the environment, foreign policy, and national planning in Iran. Khamenei has either direct or indirect control over the executive, legislative and judicial branches of government, as well as the military and media, according to Karim Sadjadpour. All candidates for the Assembly of Experts, the Presidency and the Majlis (Parliament) are vetted by the Guardian Council, whose members are selected directly or indirectly by the Supreme Leader of Iran. There have been also instances when the Guardian Council reversed its ban on particular people after being ordered to do so by Khamenei. There have been major protests during Khamenei's reign, including the 1994 Qazvin Protests, the 1999 Iranian student protests, the 2009 Iranian presidential election protests, the 2011–2012 Iranian protests, the 2017–2018 Iranian protests, the 2018–2019 Iranian general strikes and protests and the 2019–2020 Iranian protests. Journalists, bloggers and other individuals have been put on trial in Iran for the charge of insulting Supreme Leader Khamenei, often in conjunction with blasphemy charges. Their sentences have included lashing and jail time; some of them have died in custody. Regarding the nuclear program of Iran, Khamenei issued a fatwa in 2003 forbidding the production, stockpiling and use of all kinds of weapons of mass destruction. Early life and education Born to Seyyed Javad Khamenei, an Alim and Mujtahid born in Najaf, and Khadijeh Mirdamadi (daughter of Hashem Mirdamadi) in Mashhad, Khamenei is the second of eight children. Two of his brothers are also clerics; his younger brother, Hadi Khamenei, is a newspaper editor and cleric. His elder sister Fatemeh Hosseini Khamenei died in 2015, aged 89. His father was an ethnic Azerbaijani from Khamaneh, while his mother was an ethnic Persian from Yazd. Some of his ancestors are from Tafresh in today's Markazi Province and migrated from their original home in Tafresh to Khamaneh near the Tabriz. Khamenei's great ancestor was Sayyid Hossein Tafreshi, a descendant of the Aftasi Sayyids, whose lineage supposedly reached to Sultan ul-Ulama Ahmad, known as Sultan Sayyid, a grandchild of Shia fourth Imam, Ali ibn Husayn. Education His education began at the age of four, by learning Quran at Maktab; he spent his basic and advanced levels of seminary studies at the hawza of Mashhad, under mentors such as Sheikh Hashem Qazvini and Ayatollah Milani. Then, he went to Najaf in 1957, but soon returned to Mashhad due to his father's unwillingness to let him stay there. In 1958, he settled in Qom where he attended the classes of Seyyed Hossein Borujerdi and Ruhollah Khomeini. Like many other politically active clerics at the time, Khamenei was far more involved with politics than religious scholarship. Personal life Sanctions On 24 June 2019, the United States imposed sanctions on Khamenei with the signing of Executive Order 13876. Family Khamenei is married to Mansoureh Khojasteh Bagherzadeh, with whom he has six children; four sons (Mostafa, Mojtaba, Masoud, and Meysam) and two daughters (Boshra and Hoda). One of his sons, Mojtaba, married a daughter of Gholam-Ali Haddad-Adel. His eldest son, Mostafa, is married to a daughter of Azizollah Khoshvaght. Another son, Masoud, is married to the daughter of Mohsen Kharazi. He has two brothers, Mohammad Khamenei and Hadi Khamenei. Home As Supreme Leader, Khamenei moved to a house in Central Tehran on Palestine Street. A compound grew around it that now contains around fifty buildings. Around 500 people are employed at this "Beit Rahbari compound" according to The Telegraph, "many recruited from the military and security services". Lifestyle According to Mehdi Khalaji, an Iran expert at the Washington Institute for Near East Policy, Khamenei has a decent life "without it being luxurious". Robert Tait of The Daily Telegraph commented that Khamenei is "renowned for a spartan lifestyle." Dexter Filkins describes Khamenei as presenting himself "as an ascetic, dressing and eating simply". In an interview with a women's magazine, his wife declared that "we do not have decorations, in the usual sense. Years ago, we freed ourselves from these things." On the other hand, Mother Nature Network claims Khamenei has been seen riding around in a BMW car and published a picture of him exiting one. In a 2011 report in The Daily Telegraph, defectors from Iran claimed Khamenei has a considerable appetite of caviar and trout, a stable of 100 horses, collects items such as pipes and (reputedly) 170 antique walking sticks, and has a private court stretching over six palaces. Intelligence sources have also said his family has extensive international business interests. Health Khamenei's health has been called into question. In January 2007, after he had not been seen in public for some weeks, and had not appeared as he traditionally does at celebrations for Eid al-Adha, rumours spread of his illness or death. Khamenei issued a statement declaring that "enemies of the Islamic system fabricated various rumors about death and health to demoralize the Iranian nation", but according to author Hooman Majd, he appeared to be "visibly weak" in photos released with the statement. On 9 September 2014, Khamenei underwent prostate surgery in what his doctors described in state news media as a "routine operation". According to a report by Le Figaro, Western intelligence sources said Khamenei has prostate cancer. Political life and presidency Khamenei was a key figure in the Iranian Revolution in Iran and a close confidant of Ruhollah Khomeini. Since the founding of the Islamic Republic, Khamenei has held many government posts. Muhammad Sahimi claims that his political career began after the Iranian Revolution, when the former President of Iran, Akbar Hashemi Rafsanjani, then a confidant of Khomeini, brought Khamenei into Khomeini's inner circle. Later on, the current President of Iran, Hassan Rouhani, then a member of Parliament, arranged for Khamenei to get his first major post in the provisional revolutionary government as deputy defense minister. Khomeini appointed Khamenei to the post of Tehran's Friday prayers Imam in 1980, after resignation of Hussein-Ali Montazeri from the post. He served briefly as the vice Minister of National Defence from late July to 6 November 1979 and as a supervisor of the Islamic Revolutionary Guards. He also went to the battlefield as a representative of the defense commission of the parliament. Assassination attempt Khamenei narrowly escaped an assassination attempt by the Mujahedin-e Khalq when a bomb, concealed in a tape recorder, exploded beside him. On 27 June 1981, while Khamenei had returned from the frontline, he went to the Aboozar Mosque according to his Saturdays schedule. After the first prayer, he began to give a lecture to worshipers who had written their questions on a piece of paper. Meanwhile, a tape recorder accompanied with papers was put on the desk in front of Khamenei by a young man who pressed a button. After a minute the loud speaker's sound become like whistle and suddenly the tape recorder exploded. "A gift of Furqan Group to the Islamic Republic" was written on the inner wall of the tape recorder. Ayatollah Khamenei's treatment took several months and his arm, vocal cords and lungs were seriously injured. He was permanently injured, losing the use of his right arm. As president In 1981, after the assassination of Mohammad-Ali Rajai, Khamenei was elected President of Iran by a landslide vote (97%) in the October 1981 Iranian presidential election in which only four candidates were approved by the Council of Guardians. Khamenei became the first cleric to serve in the office. Ruhollah Khomeini had originally wanted to keep clerics out of the presidency but later changed his views. Khamenei was reelected in 1985 Iranian presidential election where only three candidates were approved by the Council of Guardians, receiving 87% of the votes. The only Iranian presidential election that had fewer candidates approved by the Council of Guardians was the 1989 Iranian presidential election, where only two candidates were approved by the Council of Guardians to run, and Rafsanjani easily won 96% of the votes. In his presidential inaugural address Khamenei vowed to eliminate "deviation, liberalism, and American-influenced leftists". According to the Iran Chamber, vigorous opposition to the government, including nonviolent and violent protest, assassinations, guerrilla activity and insurrections, was answered by state repression and terror in the early 1980s, both before and during Khamenei's presidency. Thousands of rank-and-file members of insurgent groups were killed, often by revolutionary courts. By 1982, the government announced that the courts would be reined in, although various political groups continued to be repressed by the government in the first half of the 1980s. During Iran–Iraq war Khamenei was one of Iran's leaders during the Iran–Iraq War in the 1980s, and developed close ties with the now-powerful Revolutionary Guards. As president, he had a reputation of being deeply interested in the military, budget and administrative details. After the war In its 10 April 1997 ruling regarding the Mykonos restaurant assassinations, the German court issued an international arrest warrant for Iranian intelligence minister Ali Fallahian after declaring that the assassination had been ordered by him with knowledge of Khamenei and Rafsanjani. Iranian officials, however, have categorically denied their involvement. The then Iranian Parliament speaker Ali Akbar Nategh-Nouri dismissed the ruling as being political, untrue and unsubstantiated. The ruling led to a diplomatic crisis between the governments of Iran and several European countries, which lasted until November 1997. The accused assassins, Darabi and Rhayel, were finally released from prison on 10 December 2007 and deported back to their home countries. Supreme Leader Khamenei has fired and reinstated Presidential cabinet appointments. Iran's Chief Justice Sadeq Larijani, a Khamenei appointee, has warned the president of Iran against voicing opposition to Khamenei. Election as Supreme Leader In 1989 Ayatollah Khomeini dismissed Ayatollah Montazeri as his political successor, giving the position to Khamenei instead. Because Khamenei was neither a marja or ayatollah, the Assembly of Experts had to modify the constitution in order to award him the position of Iran's new Supreme Leader (a decision opposed by several grand ayatollahs). Khamenei officially succeeded Ruhollah Khomeini after Khomeini's death, being elected as the new Supreme Leader by the Assembly of Experts on 4 June 1989. Leadership council proposal Initially, the idea of leadership council was proposed by some members of Assembly of Experts. Various lists were proposed and Khamenei was named in all of them. For instance, a council of three members, Ali Meshkini, Mousavi Ardebili and Khamenei, was proposed to lead Iran. According to Rafsanjani, he and Khamenei were against the proposal while Ayatollah Haeri Shirazi and Ayatollah Ebrahim Amini were in favor of it. Supporters of the council proposal believed that having a council would produce a higher degree of unity in society and more positive characteristics would be found in a council, while the opposers believed that an individual leader was more efficient according to the past experiences in case of Judiciary council. Ebrahim Amini listed the summary of reasons presented by the two sides. According to him the opposers rejected the proposal because: i) Evidences for Guardianship of the Islamic Jurist were true only for the guardianship of an individual and it was not clear who held the guardianship when there was a council. Guardianship of a council was not rooted in Hadiths and Islamic jurisprudence. ii) Previous council type organizations such as broadcasting council and supreme judicial council were not successful in practice and leadership council would not do well for similar reasons. iii) People were accustomed to the leadership of an individual and a council of leaders was something unfamiliar to them. iv) An individual leader could act more decisive when dealing with critical and important decisions and solving problems and crisis. On the other hand, the supporters of the proposal believed that: i) At the time, there were no Faqih equal to Khomeini or even two or three levels lower than him so that he could fulfill the expectation of people. ii) In case of council of leaders, the members could compensate each other, if any of them had some shortage in a field. Finally, 45 members voted against the leadership council proposal while more than 20 people were in favor of it and the proposal was rejected. After the assembly rejected the idea of a Leadership Council, Khamenei was elected Leader by 60 of the 74 members present with Grand Ayatollah Mohammad-Reza Golpaygani receiving the remaining 14 votes. Khamenei made protestations of his unworthiness -- "my nomination should make us all cry tears of blood" and debated with the mujtahids of the Assembly—but eventually accepted the post. Marjaʿiyyat criteria Since Khamenei was not a marja' at the time—which the Iranian constitution required—he was named as the temporary Supreme Leader. Later, the constitution was amended to remove that requirement and the Assembly of Experts reconvened on 6 August 1989, to reconfirm Khamenei with 60 votes out of 64 present. On 29 April 1989, responding to the letter of Ayatollah Meshkini, the head of committee responsible for revising the Constitution, asking Khomeini's viewpoint regarding the 'marjaʿiyyat criteria, Khomeini said: "From the very beginning, I believed and insisted that there is no need for the requirements of marjaʿiyyat (authority in jurisprudence). A pious mujtahid (jurist-intellectual), who is approved by the esteemed Assembly of Experts (Majlis-i Khobregan), will suffice." In a video that surfaced during the 2017–18 Iranian protests, Khamenei is seen before the assembly saying he was not religiously qualified to be Supreme leader. Khamenei, who was ranked as a Hujjat al-Islam and not a Marja' as required by the Iranian constitution, said he would only be a "ceremonial leader", and was reassured by Akbar Hashemi Rafsanjani the position would be "temporary" until a referendum, apparently planned for one year later. Political strategy and philosophy Khamenei's era has differed from that of his predecessor. He has, however, continued Khomeini's policy of "balancing one group against another, making sure that no single side gains too much power." But lacking Khomeini's charisma and clerical standing, he has developed personal networks, first inside the armed forces, and then among the clerics, while administering the major bonyads and seminaries of Qom and Mashhad. Having been Supreme Leader for three decades, Khamenei has been able to place many loyalists throughout Iran's major institutions, "building a system that serves and protects him". Former cleric Mehdi Khalaji and Saeid Golkar, describe Khamenei's system as having creating a "parallel structure" for each of the country's institutions (army, intelligence agencies, etc.) to keep those institutions weak. According to Vali Nasr of the Johns Hopkins School of Advanced International Studies, "[Khamenei] [took] many of the powers of the presidency with him and [turned] the office of the supreme leader into the omnipotent overseer of Iran's political scene". In Nasr's view, Khamenei is an "unusual sort of dictator". Officials under Khamenei influence the country's various powerful, and sometimes bickering, institutions, including "the parliament, the presidency, the judiciary, the Revolutionary Guards, the military, the intelligence services, the police agencies, the clerical elite, the Friday prayer leaders and much of the media", as well as various "nongovernmental foundations, organizations, councils, seminaries and business groups". Khamenei issues decrees and makes the final decisions on economy, environment, foreign policy and everything else in Iran. Khamenei regularly meets with president, cabinet members, head and officials of the judiciary branch, parliamentarians, among others, and tells them what to do. Khamenei has also fired and reinstated Presidential cabinet appointments. Khamenei meets with foreign dignitaries, however he does not travel overseas; if anyone wishes to see him, that person must travel to Iran. Apart from his time in Najaf as a student, Khamenei travelled to Libya during his time as President. In his speeches Khamenei regularly mentions many familiar themes of the 1979 revolution: justice, independence, self-sufficiency, Islamic government and resolute opposition to Israel and United States, while rarely mentioning other revolutionary ideals such as democracy and greater government transparency. According to Karim Sadjadpour of the Carnegie Endowment for International Peace, Khamenei has "resisted Rafsanjani's attempts to find a modus vivendi with the United States, Khatami's aspirations for a more democratic Islamic state, and Ahmadinejad's penchant for outright confrontation." Privatization of state-owned businesses In 2007, Khamenei called for the privatization of state-owned companies, including the telephone company, three banks and dozens of small oil and petrochemical enterprises. After a few months, at a televised meeting with then-President Mahmoud Ahmadinejad and his Cabinet ministers, important clerics, the leader of parliament and provincial governors, the heads of state broadcasting and the Iranian chamber of commerce, Khamenei ordered "to pass some laws, sell off some businesses, and be quick about it." Khamenei warned that "those who are hostile to these policies are the ones who are going to lose their interests and influence." Dispute regarding status as Grand Ayatollah In 1994, after the death of Grand Ayatollah Mohammad Ali Araki, the Society of Seminary Teachers of Qom declared Khamenei a new marja. Several ayatollahs, however, declined to recognize him as such. Some of those dissidents clerics included Mohammad Shirazi, Hossein-Ali Montazeri, Hassan Tabatabai-Qomi, and Yasubedin Rastegar Jooybari. In 1997, for example, Montazeri "questioned the powers of the Leader" and was subsequently punished for his comments with the closure of his religious school, an attack on his office in Qom, and a period of house arrest. Appointments The table below lists some of the incumbent senior officeholders in Iran directly appointed by the supreme leader (sorted by date of appointment): Fatwas and messages Fatwa regarding companions of Muhammad In 2010, Khamenei issued a fatwa which bans any insult to the Sahabah (companions of Muhammad) as well as Muhammad's wives. The fatwa was issued in an effort to reconcile legal, social, and political disagreements between Sunni and Shia. Amman Message Khamenei is one of the Ulama signatories of the Amman Message, which gives a broad foundation for defining Muslim orthodoxy. as well as elaborating on the factors needed to create Islamic unity, he argues: "neither the Shia Muslims allied with the British MI6 are Shias, nor the Sunni mercenaries of the American CIA are Sunnis, as they are both anti-Islamic." Fatwa against nuclear weapons Khamenei has reportedly issued a fatwa saying the production, stockpiling, and use of nuclear weapons was forbidden under Islam. The fatwa was cited in an official statement by the Iranian government at an August 2005 meeting of the International Atomic Energy Agency (IAEA) in Vienna. It's been widely discussed by international officials and specifically recognized by the US administration. The Iranian official website for information regarding its nuclear program has provided numerous instances of public statements by Khamenei wherein he voices his opposition to pursuit and development of nuclear weapons in moral, religious and Islamic juridical terms. Khamenei's official website specifically cites a 2010 version of these statements in the fatwa section of the website in Farsi as a fatwa on "Prohibition of Weapons of Mass Destruction". Doubts have been cast by experts on the existence of the fatwa as it can be changed or modified as and when deemed necessary, as well as doubts on its authenticity, its impact, and its apparently religious nature. Gareth Porter believes that the fatwa is "sincere" and Gholam-Hossein Elham commented that it will not change. Message(s) to Hajj pilgrims Sayyid Ali Khamenei annually issues message(s) on the occasion of Hajj for all Muslims (pilgrims) in Hajj. He commenced to issue such messages since the start of his responsibility as the supreme leader of Iran (1989). He continually invites all Muslims to Tawhid, and afterwards expresses concerning the significance of Hajj in spiritual/social life. He also asks the Muslims to be aware of what he considers "the conspiracy of the enemies" by having a right comprehension, and advises them to "not be deceived by them". So far, Iran's supreme leader has issued 32 messages (since 1989). A part of his last message (6 August 2019) is as follows: The ritual of Bara’ah which means refusing every instance of mercilessness, cruelty, wrongdoing and corruption of the tyrants of any time, and rising against intimidation and extortion by the arrogant throughout history, is one of the great blessings of Hajj, and an opportunity for oppressed Muslim nations. Women riding bicycles He issued a fatwa declaring women riding bicycles haram. Political power following reform era Khamenei developed a cult of personality; with supporters describing him as a "divine gift to mankind" and in which Khamenei critics are persecuted. According to Karim Sadjadpour of the American Carnegie Endowment for International Peace, several factors have strengthened Khamenei in recent years: (1) A vast network of commissars stationed in strategic posts throughout government bureaucracies, dedicated to enforcing his authority; (2) the weak, conservative-dominated parliament, headed by Khamenei loyalist Gholam-Ali Haddad-Adel (whose daughter is married to the Leader's son); (3) the rapidly rising political and economic influence of the Islamic Revolutionary Guards, whose top leaders are directly appointed by Khamenei and have always been publicly deferential to him; (4) the political disengagement of Iran's young population ...; and (5) most significant[ly], the 2005 presidential election, which saw hardliner Mahmoud Ahmadinejad trounce Khamenei's chief rival ... Hashemi Rafsanjani ... According to Christopher Dickey, in order to consolidate his power base, Khamenei has developed close relations with the security and military establishment, while also expanding the bureaucracy inside the government and around his Beit Rahbari compound. Financial assets Writing in The Daily Telegraph, Damien McElroy and Ahmad Vahdat observed: "The ayatollah likes to cultivate an image of austerity but receives major commissions from the Iranian oil and arms industries and there have been regular claims that he and his son have amassed a fortune running into billions of dollars." A six-month investigation by Reuters has said that Khamenei controls a "financial empire" worth approximately US$95 billion that is not overseen by the Iranian Parliament, a figure much larger than the estimated wealth of the late Shah of Iran. According to the Reuters investigation, Khamenei uses the assets of a company called Headquarters for Executing the Order of the Imam or "Setad" in Farsi, in order to increase his grip on power. Reuters "found no evidence that Khamenei is tapping Setad to enrich himself," but did find that he used Setad's funds, which "rival the holdings of the shah", for political expedience – "Setad gives him the financial means to operate independently of parliament and the national budget, insulating him from Iran's messy factional infighting." According to The Daily Telegraph, money from Setad is used to fund Khamenei's Beit Rahbari compound, which employs over 500 stewards, as was reported in 2013. Hamid Vaezi, Setad's head of public relations, said the information "was far from realities and is not correct". The six-month investigation by Reuters into found that, regarding the source of Setad's funds, "Setad built its empire on the systematic seizure of thousands of properties belonging to ordinary Iranians: members of religious minorities like Vahdat-e-Hagh, who is Baha'i, as well as Shi'ite Muslims, business people and Iranians living abroad." Despite the negative accounts of Western sources, Iranian official sources depict Setad as a vast charity foundation. In an interview in October 2014 with Islamic Republic News Agency, Muhammad Mukhber, the head of Setad, stated that over 90% of profits from Setad business activities are spent on improving infrastructure in the poor regions of the country, creating jobs and improving the well-being of people in these regions reflecting the top concerns of Iran's Supreme Leader, Khamenei for the Iranian society. He state that 85 percent of Setad's charitable works take place in poor regions of Iran. He cited construction of several hundred schools, mosques and hussainiyas, as well as direct and indirect contribution to formation of over 350 thousands jobs expecting a total of 700 thousands for the upcoming three years. Mukhber also cited a sum total grant of 2.21 trillion rials of Qard al-Hasan, interest-free loans, to 41 thousands families in poor regions of the country. He also revealed plans of gradual sell-off of Setad profitable businesses in the stock market with the aim of transferring their ownership into the hands of Iranian people. He also envisioned construction and delivery of 17 thousands housing units to families in poor regions of Iran by 2018. Challenges following 2009 election protest In mid-August 2009, a group of unnamed former reformist lawmakers appealed to the Assembly of Experts – the constitutional body charged with electing and (in theory) supervising and removing the Leader – to investigate Leader Ali Khamenei's qualification to rule. A week later another anonymous letter was issued "calling Iran's leader a dictator and demanding his removal", this one by a group of Iranian clerics. The letters were called a blow to Khamenei's "status as a neutral arbiter and Islamic figurehead" and an "unprecedented challenge to the country's most powerful man" though not a blow to his actual power as leader. The New York Times reports "the phrase 'death to Khamenei' has begun appearing in graffiti on Tehran walls, a phrase that would have been almost unimaginable not long ago." The letter was addressed to the head of the Assembly of Experts, Ayatollah Akbar Hashemi Rafsanjani, a "powerful former president" who also questions the election results. According to the Associate Press it is unlikely the letter's demands would be met as "two-thirds of the 86-member assembly are considered strong loyalists of Khamenei and would oppose" any investigation of him. According to The New York Times reporting in mid-August 2009, a "prominent Iranian cleric and a former lawmaker said on Sunday that they had spoken to some of the authors and had no doubt the letter was genuine". According to this cleric, the letter's signatories number "several dozen, and are mostly midranking figures from Qum, Isfahan and Mashhad", and that "the pressure on clerics in Qum is much worse than the pressure on activists because the establishment is afraid that if they say anything they can turn the more traditional sectors of society against the regime". Relations with former President Ahmadinejad Early in his presidency, Ahmadinejad was sometimes described as "enjoy[ing] the full backing" of the Supreme Leader , and even as being his "protege." In Ahmadinejad's 2005 inauguration the supreme leader allowed Ahmadinejad to kiss his hand and cheeks in what was called "a sign of closeness and loyalty," and after the 2009 election fully endorsed Ahmadinejad against protesters. However, as early as January 2008 signs of disagreement between the two men developed over domestic policies, and by the period of 2010–11 several sources detected a "growing rift" between them. The disagreement was described as centered on Esfandiar Rahim Mashaei, a top adviser and close confidant of Ahmadinejad and opponent of "greater involvement of clerics in politics", who was first vice president of Iran until being ordered to resign from the cabinet by the supreme leader. In 2009, Ahmadinejad dismissed Intelligence Minister Gholam-Hossein Mohseni-Eje'i, an opponent of Mashaei. In April 2011, another Intelligence minister, Heydar Moslehi, resigned after being asked to by Ahmadinejad, but was reinstated by the supreme leader within hours. Ahmadinejad declined to officially back Moslehi's reinstatement for two weeks and in protest engaged in an "11-day walkout" of cabinet meetings, religious ceremonies, and other official functions. Ahmadinejad's actions led to angry public attacks by clerics, parliamentarians and military commanders, who accused him of ignoring orders from the supreme leader. Conservative opponents in parliament launched an "impeachment drive" against him, four websites with ties to Ahmadinejad reportedly were "filtered and blocked", and several people "said to be close" to the president and Mashaei (such as Abbas Amirifar and Mohammed Sharif Malekzadeh) were arrested on charges of being "magicians" and invoking djinns. On 6 May 2011, it was reported that Ahmadinejad had been given an ultimatum to accept the leader's intervention or resign, and on 8 May he "apparently bowed" to the reinstatement, welcoming back Moslehi to a cabinet meeting. The events have been said to have "humiliated and weakened" Ahmadinejad, though the president denied that there had been any rift between the two, and according to the semiofficial Fars News Agency, he stated that his relationship with the supreme leader "is that of a father and a son." In 2012, Khamenei ordered a halt to a parliamentary inquiry into Ahmadinejad's mishandling of the Iranian economy. In 2016, Khamenei advised Mahmoud Ahmadinejad, his former ally with whom his relationship was strained after Ahmadinejad accused his son Mojtaba Khamenei of embezzling from the state treasury, to not run for president again. Domestic policy Khamenei is regarded by some as the figurehead of the country's conservative establishment. Khamenei supported Mesbah Yazdi describing him as one of Iran's most credible ideologues prior to the 2005 election, but has reportedly "recently been concerned about Mesbah's political ambitions." In 2007, Khamenei requested that government officials speed up Iran's move towards economic privatization. Its last move towards such a goal was in 2004, when Article 44 of the constitution was overturned. Article 44 had decreed that Iran's core infrastructure should remain state-run. Khamenei also suggested that ownership rights should be protected in courts set up by the Justice Ministry; the hope was that this new protection would give a measure of security to and encourage private investment. In 2007, Iranian police under the direction of Khamenei launched a "Public Security Plan", arresting dozens of "thugs" to increase public security. Additionally, Khamenei has stated that he believes in the importance of nuclear technology for civilian purposes because "oil and gas reserves cannot last forever." On 30 April 2008, Ali Khamenei backed President Ahmadinejad's economic policy and said the West was struggling with more economic difficulties than Iran, with a "crisis" spreading from the United States to Europe, and inflation was a widespread problem. The Iranian leader said that the ongoing economic crisis which has crippled the world has been unprecedented in the past 60 years. "This crisis has forced the UN to declare state of emergency for food shortages around the globe but foreign radios have focused on Iran to imply that the current price hikes and inflation in the country are the results of carelessness on the part of Iranian officials which of course is not true", he said. Khamenei emphasized that no one has the right to blame the Iranian government for Iran's economic problems. He also advised people and the government to be content and avoid waste in order to solve economic problems. "I advise you to keep in your mind that this great nation is never afraid of economic sanctions", he added. Presidential, parliamentary, and Assembly of Experts elections As Supreme Leader, Khamenei has influence over elections in Iran since the Constitution of Iran allows him to appoint half of the members of the Guardian Council and the Chief Justice of Iran. The Constitution also establishes that the Council approves or disqualifies candidates for office while the Chief Justice presents the other half of the members of the Council to be selected by Parliament. These constitutional provisions give Khamenei direct and indirect influence over the Council; an entity that, in turn, has direct influence over who can run for government. This influence was evident in the 2004 parliamentary elections, in which the Guardian Council disqualified thousands of candidates from running—including 80 incumbents, many of the reformist members of Parliament, and all the candidates of the Islamic Iran Participation Front party. Subsequently, the conservatives won about 70 percent of parliamentary seats. The election became a key turning point in the country's political evolution as it marked the end of the campaign for political and social reform initiated by former President Mohammad Khatami. During the 2005 presidential election, Khamenei's comments about importance of fighting corruption, being faithful to the ideals of the Islamic revolution, as well as on the superior intelligence and dynamism of those who studied engineering, were interpreted by some as a subtle endorsement of Mahmoud Ahmadinejad (who had a PhD in traffic engineering). After the election, and until recently, Khamenei was outspoken in his support for Ahmadinejad, and "defended him publicly in ways which he never" had reformist president Khatami. Khamenei would later certify the results of the 2009 Iranian Presidential election. Khamenei took a firm stand against the 2009–10 Iranian election protests, and stated that he will neither reconsider vote results nor bow to public pressure over the disputed reelection of President Mahmoud Ahmadinejad. "By Allah's favor, the presidential election was accurately held, and the current matters should be pursued legally." In a public appearance on 19 June he expresses his support for the declared winner Ahmadinejad and accused foreign powers—including Britain, Israel and the United States—of helping foment protest against the election results. In particular, he singled out Britain, perceiving the country as the "most evil" of its enemies. He said that the Iranian people will respond with an "iron fist" if Western powers meddle in Iran's internal affairs. In response to reformist gains in the 2015–2016 election cycle, Khamenei lamented the loss of conservative clerics from the Assembly of Experts and suggested changes to the law by which the Guardian Council vets candidates may be needed because it is currently too difficult for the Guardian Council to vet so large a number of candidates. Science and technology Ali Khamenei has been supportive of scientific progress in Iran. He was among the first Islamic clerics to allow stem cell research and therapeutic cloning. In 2004, Khamenei said that the country's progress is dependent on investment in the field of science and technology. He also said that attaching a high status to scholars and scientists in society would help talents to flourish and science and technology to become domesticated, thus ensuring the country's progress and development. Foreign policy Khamenei has "direct responsibility" for foreign policy, which "cannot be conducted without his direct involvement and approval". He has a foreign policy team independent of the president's "which includes two former foreign ministers" and "can at any time of his choosing inject himself into the process and 'correct' a flawed policy or decision." His foreign policy is said to steer a course that avoids either confrontation or accommodation with the West. Khamenei condemned the Saudi Arabian-led intervention in Yemen and compared Saudi Arabia to Israel. Khamenei condemned the persecution of Rohingya Muslims in Myanmar and called Myanmar's de facto leader and Nobel Peace Prize laureate Aung Sang Suu Kyi a "brutal woman". U.S. Secretary of State Mike Pompeo criticized Khamenei for his refusal to condemn the Xinjiang re-education camps and human rights abuses against the Uyghur Muslim minority in China. Beliefs about the United States and its foreign policy The United States and Iran have had no formal diplomatic relations since the Iran hostage crisis of 1980 when US embassy was taken over and US diplomats were taken prisoner. According to study by Karim Sadjadpour, speeches by Khamenei regularly mention the principle of resolute opposition to the United States; and according to Karim Sadjadpour he has "resisted Rafsanjani's attempts to find a modus vivendi with the United States", and once told reformist president Mohammad Khatami that "we need the United States as an enemy". On 4 June 2006, Khamenei said that Iran would disrupt energy shipments from the Persian Gulf region (about 20% of the world's daily supply of oil passes from the Persian Gulf through the Strait of Hormuz very close to Iran's coast) should the country come under attack from the US, insisting that Tehran will not give up its right to produce nuclear fuel. On 14 September 2007, Ayatollah Ali Khamenei (on the 1st Friday prayer of Ramadan) predicted that George W. Bush and American officials will one day be tried in an international criminal court to be held "accountable" for the U.S. led invasion of Iraq. He asserts that the United States is the main cause of insecurity in Iraq. On 21 March 2009, a day after US President Barack Obama advocated a "new beginning" in diplomatic relations between the two countries, Khamenei said a change of US "words" was not enough and added: "We will watch and we will judge (the new US administration) ... You change, our behavior will change." He rejected US foreign policy since the Islamic revolution, insisted the United States is "hated in the world" and should end its interference in other countries. Khamenei criticized the NATO-led military intervention in Libya. On 21 March 2011, Khamenei accused the West of having "come after Libyan oil". He also stressed that "Iran utterly condemns the behaviour of the Libyan government against its people, the killings and pressure on people, and the bombing of its cities... but it (also) condemns the military action in Libya". Khamenei stated that he support sending mediators rather than bombing the country. In June 2011, Khamenei accused the United States government of terrorism and rejected the American definition of terrorism; he was quoted as saying, "The U.S. and the European governments that follow it describe Palestinian combatant groups who fight for the liberation of their land as terrorists." In June 2012, Khamenei warned Western governments that the mounting sanctions on the country will only deepen the Iranians' hatred of the West. In October 2014, Khamenei said the U.S. and the U.K. created ISIS as a tool to fight Iran and "create insecurity" in the region. On 19 July 2015, while speaking at a mosque in Tehran, Khamenei said to his supporters that the policies of the United States in the region were "180 degrees" opposed to Iran's political and religious movement. The speech was punctuated by chants of "Death to America" and "Death to Israel". Khamenei said in regards to the 2015 nuclear deal that "Even after this deal our policy towards the arrogant U.S. will not change." U.S. Secretary of State John Kerry said that if the comments reflected policy, it was "very disturbing", and "very troubling". In March 2020, Khamenei warned against a United States offer of aid to fight COVID-19 on the grounds that it could be a way to hurt Iran by further spreading the disease. He also suggested the US had developed a special variety of the virus "based on Iranian genetic information they have gathered", although he provided no evidence for the theory. Khamenei explained, “There are enemies who are demons, and there are enemies who are humans, and they help one another." Condemnation of 11 September attacks After the 11 September attacks, Khamenei condemned the act and the attackers and called for a condemnation of terrorist activities all over the world, but warned strongly against a military intervention in Afghanistan. He is quoted as saying, "Mass killings of human beings are catastrophic acts which are condemned wherever they may happen and whoever the perpetrators and the victims may be." Zionism and Israel Khamenei is an opponent of the State of Israel and Zionism, and has been criticized for anti-Semitic rhetoric and for making threats against Israel. On 15 December 2000, Khamenei called Israel a "cancerous tumor of a state" that "should be removed from the region" and in 2013 called Israel a "rabid dog", as well as in 2014 during the Gaza war, for what he called attacking innocent people. In 2014, a tweet from an account attributed to Khamenei, claimed that there was no cure for Israel but its annihilation. In a September 2008 sermon for Friday prayers in Tehran, Khamenei stated that "it is incorrect, irrational, pointless and nonsense to say that we are friends of Israeli people", because he believed that the occupation is done by the means of them. "[U]surpation of houses, lands, and business [of Palestinian people] are carried out using these people. They are the background actors of Zionist elements," said Khamenei in his speech. "[W]e have no problem with Jews and Christians ... we have problem with the usurpers of Palestine land," he added. Also, he said that he had raised the issue "to spell an end to any debates". In 2013, Khamenei accused France of "kneeling" before Israel, while saying that Israel was led by people unworthy of the "title human". Nevertheless, according to anti-regime change activist Abbas Edalat, in 2005 Khamenei responded to a remark by then-President Ahmadinejad which had been widely translated as saying that the "regime occupying Jerusalem should be wiped off the map" by saying that "the Islamic Republic has never threatened and will never threaten any country." In a September 2009 sermon, Khamenei was quoted as saying, that "the Zionist cancer is gnawing into the lives of Islamic nations." In another report of the same speech, he added that "we will support and help any nations, any groups fighting against the Zionist regime across the world, and we are not afraid of declaring this." Khamenei instead proposed that "Palestinian refugees should return and Muslims, Christians and Jews could choose a government for themselves, excluding immigrant Jews," adding "No one will allow a bunch of thugs, lechers and outcasts from London, America and Moscow to rule over the Palestinians." On 10 September 2015, in a speech about Israel after agreement on the nuclear program of Iran, Khamenei made a remark "Israel will not exist in 25 years". For the first time, the remark was published in Khamenei's official website and his Twitter. This statement was reported as voted as the best and most important among Khamenei's statements in 2015 by an online poll conducted by his official website. On 21 February, at the 6th International Conference in Support of the Palestinian Intifada, Khamenei regarded withdrawal of Israel from south Lebanon in 2000 and from Gaza in 2005 as two major achievements so far. Also, he advised the Islamic countries to refrain from "useless" crises and differences and instead concentrate on the issue of Palestine which he regarded as the core issue of Islam. "Otherwise, the potentials and capabilities of the nations will go to waste in the face of vain struggles, which would provide opportunities for the Zionist regime to become even stronger," he added. Khamenei condemned peace agreement between Israel and the United Arab Emirates and charged UAE with betraying the Islamic world, the Arab countries and Palestine. He stated that the normalization will be only temporary, but the UAE will forever have to bear the shame regarding the deal. Holocaust denial On 21 March 2014, during a morning speech marking the Persian New Year, Nowruz, Khamenei called into question the Holocaust. He said that "the Holocaust is an event whose reality is uncertain and if it has happened, it's uncertain how it has happened". Additionally he commented that "No one in European countries dares to speak about [the] Holocaust" (because of the potential legal consequences in some countries), and said that in the West, "speaking about [the] Holocaust and expressing doubts about it is considered to be a great sin." The Anti-Defamation League accused Khamenei in March 2014 of making statements of explicit Holocaust denial. On Holocaust Memorial Day, 27 January 2016, Khamenei posted a Holocaust denying video on his official website. In the video (drawing on the March 2014 speech), lasting about three minutes, the video features images of Holocaust deniers Roger Garaudy, Robert Faurisson, and David Irving. In a series of tweets in mid-December 2019, he praised Garaudy: "The fight he engaged in against the Zionists is a #DivineDuty for all those who respect the #Truth." France's conviction of Garaudy, he said, was against the concept of freedom of speech. Human rights, freedoms, protests, Islamic law Critics have accused Khamenei of overseeing the assassination of as many as 160 exiled defectors worldwide, the heavy handed repression of protesters, the killings of tens of thousands of members of the M.E.K. (People's Mujahedin of Iran) paramilitary group, and of making dissident writers and intellectuals in Iran "a special target" of repression, among other infractions of human rights. However, Khamenei himself has insisted human rights are a fundamental principle underlying Islamic teachings, that precedes western concern for human rights by many centuries. He has attacked Western powers who have criticized the rights record of the Islamic Republic for hypocrisy saying that these countries economically oppress people in Third World countries and support despots and dictators. In response to Western complaints of human rights abuses in Iran he has stated that the American administration has committed many crimes and is therefore not fit to judge the Islamic Republic. Protests during leadership There have been several major protests during Khamenei's reign, including the 1994 Qazvin Protests—where, according to Al-Arabiya, around 40 people were killed and over 400 were injured— the 1999 Iranian student protests, the 2009 Iranian presidential election protests, when protesters chanted "death to the dictator", and ripped down pictures of Khamenei, as well as the 2011–12 Iranian protests and 2017–18 Iranian protests, among others. In 2016, Khamenei, who outlines the elections guidelines "in line with Article 110 of Iran's Constitution", asked to maximize the amount of transparency in elections in Iran, using modern technologies. During the Mahshahr massacre, protests expanded against "government corruption, failing institutions, lack of freedoms and the repressive rule of Iran's supreme leader, Ayatollah Ali Khamenei." During the 2018–2019 Iranian general strikes and protests, Khameini demanded punishment for those “who disrupt economic security”. According to Reuters, the remarks were "clearly intended to send a message to Iranians who may plan more demonstrations". During the 2019–2020 Iranian protests, Khamenei met with various officials and cabinet members, saying "he would hold the assembled officials responsible for the consequences of the protests if they didn't immediately stop them." According to an official, Khamenei "made clear the demonstrations required a forceful response" and that "rioters should be crushed." During the Ukraine International Airlines Flight 752 protests, thousands of protesters demanded Ayatollah Ali Khamenei's resignation. Minorities The Baháʼí Faith is the largest religious minority in Iran, with around 300,000 members (8,000,000 members worldwide) and is officially considered a dangerous cult by Iranian government. It is banned in Iran and several other countries. Khamenei has approved new legislation against Baháʼís in Iran and lessen their influence abroad. According to a letter from the Chairman of the Command Headquarters of the Armed Forces in Iran addressed to the Ministry of Information, the Revolutionary Guard, and the Police Force, Khamenei has also ordered the Command Headquarters to identify people who adhere to the Baháʼí Faith and to monitor their activities and gather any and all information about the members of the Baháʼí Faith. Relationship with the press In 2000, he was listed by the Committee to Protect Journalists as "one of the top ten enemies of the press and freedom of expression", and was named to the Time 100 in 2007. Opposition journalists Ahmad Zeidabadi, Mohsen Sazegara, Mohammad Nourizad and Akbar Ganji were arrested and investigated for spreading critical articles containing unproven charges against Khamenei's policies as the leader and some organizations. According to the Iran's Press Law "spreading rumors and lies and distorts the words of others" is not allowed. Also, according to the law, "spreading libel against officials, institutions, organizations and individuals in the country or insulting legal or real persons who are lawfully respected, even by means of pictures or caricatures" is not allowed. Among his controversial actions were his rejection of a bill presented by the Iranian parliament in 2000 that aimed to reform the country's press law, and the disqualification of thousands of parliamentary candidates for the 2004 Iranian legislative election by the Guardian Council he appointed. In 2012, 2013, and 2014, Forbes selected Khamenei as the 21st, 23rd, and 19th most powerful person in the world, respectively, in the list of The World's Most Powerful People. Trials of people for insulting Khamenei Several journalists, bloggers, and other individuals were put on trial in Iran for the charge of insulting the Supreme Leader, often in conjunction with blasphemy charges. In 1996, Abbas Maroufi was sentenced to 35 lashes and 6 months imprisonment for spreading lies and insulting Khamenei. Maroufi was also banned from working as a journalist and his literary monthly Gardoon was closed. Maroufi had compared Khamenei to former Shah of Iran Mohammed Reza Pahlavi. In 2005, an Iranian was jailed for two years for insulting Khamenei and Imam Khomeini while being cleared of insulting the prophet. In 2009, Iranian blogger Omid Reza Mir Sayafi who was arrested for insulting Khamenei in an internet post, died while in custody in Evin Prison. In 2010, opposition activist Ahmad Gabel was sentenced to 20 months in jail for insulting Khamenei, as well as 3 additional years for possessing a satellite receiver, a 3-year exile and a fine. In 2014, eight men including a Briton were sentenced for 19 to 20 years for insulting Khamenei and other charges relating to Facebook comments. In 2017, Sina Dehghan was sentenced to death for insulting the prophet, with an additional 16-month sentence for insulting Khamenei in a messaging application. Interpretation of Islamic law In 2000, Ali Khamenei sent a letter to the Iranian parliament forbidding the legislature from debating a revision of the Iranian press law. He wrote: "The present press law has succeeded to a point in preventing this big plague. The draft bill is not legitimate and in the interests of the system and the revolution." His use of "extra-legislative power" has been criticized by reformists and opposition groups. In reaction to the letter, some Parliament members voiced outrage and threatened to resign. Kayhan and Jomhuri-ye Eslami are two newspapers published under the management of Khamenei. In late 1996, following a fatwa by Khamenei stating that music education corrupts the minds of young children, many music schools were closed and music instruction to children under the age of 16 was banned by public establishments (although private instruction continued). Khamenei stated, "The promotion of music [both traditional and Western] in schools is contrary to the goals and teachings of Islam, regardless of age and level of study." In 1999, Khamenei issued a fatwa stating that it was permitted to use a third-party (donor sperm, ova or surrogacy) in fertility treatments. This was different in "both style and substance" to the fatwa on Assisted Reproductive Technology (ART) by Gad El-Hak Ali Gad El-Hak of Egypt's Al-Azhar University in the late 1980s which permitted ART (IVF and similar technologies) as long there is no third-party donation (of sperm, eggs, embryos, or uteruses). In 2002, he ruled that human stem cell research was permissible under Islam, with the condition that it be used to create only parts as opposed to a whole human. In 2002, after protests erupted in the capital, Khamenei intervened against the death sentence given to Hashem Aghajari for arguing that Muslims should re-interpret Islam rather than blindly follow leaders. Khamenei ordered a review of the sentence against Aghajari and it was later commuted to a prison sentence. Women's rights In July 2007, Khamenei criticized Iranian women's rights activists and the Convention on the Elimination of All Forms of Discrimination Against Women (CEDAW): "In our country ... some activist women, and some men, have been trying to play with Islamic rules in order to match international conventions related to women", Khamenei said. "This is wrong." Khamenei made these comments two days after Iranian women's rights activist Delaram Ali was sentenced to 34 months of jail and 10 lashes by Iran's judiciary. Khamenei is an advocate of Islamic practice of Hijab. He believes that hijab is aimed at honoring women. To the Western objection to the compulsory hijab in Iran, he responds by pointing out the compulsory unveiling in certain western countries and obstacles created for veiled Muslim women who want to enter universities. He further argues that women in the West have lost their honor by pointing out perceived high rate of sexual violence in the West as well as the widespread exploitation of female sexual appeal for commercial purposes: "In effect, they have been treating women like a commodity, like another of their products. If you were to look at the magazines, which are published in the West, you would see that they advertise a commodity for sale next to the naked picture of a woman. Can you imagine a bigger insult to women? They [the West] must be answerable [not Islam]." Ali Khamenei believes in gender segregation. Khamenei also believes that gender equality is a Zionist plot with the purpose to "corrupt the role of women in society". Khamenei argues that "Today, homosexuality is a major problem in the western world. They [western nations] however ignore it. But the reality is that homosexuality has become a serious challenge, pain and unsolvable problem for the intellectuals in the west." Literature and art Khamenei has stated that "poetry must be the vanguard of the caravan of the [Islamic] revolution... [T]hrough the arts and literature, the revolution can be exported in an easier and more honest way.” It has been suggested (by Dexter Filkins) that this might explain his interest in banning books, prohibiting newspapers and imprisoning artists. He has expressed interest in the study of the novels and stories since childhood and studied various world's credible novels. He was "fascinated by Jean-Paul Sartre and Bertrand Russell" in his youth. He praised the works of Mikhail Sholokhov, Alexei Tolstoy, Honoré de Balzac, and Michel Zévaco. However, Victor Hugo's Les Misérables "is the best novel that has been written in history." He explained: He suggested reading The Grapes of Wrath to "an audience of writers and artists" and Uncle Tom's Cabin to the high-level state managers as he thought it shed light on the history of United States. Isn't this the government that massacred the original native inhabitants of the land of America? That wiped out the American Indians? ... Today, one of the most tragic works of art is Uncle Tom's Cabin ... This book still lives after almost 200 years, Khamenei is fluent in Arabic in addition to his native languages, Persian and Azerbaijani. He has translated several books into Persian from Arabic, including the works of the Egyptian Islamic theoretician Sayyid Qutb. He speaks Azerbaijani, his father's native language. When it comes to poetry, in Mashhad he used to participate in the literary associations along with known poets and used to critique poems. Writing some poems himself, he chose pseudonym 'Amin' for himself. In the field of music, he is known to have a good singing voice and plays the tar, a traditional Iranian stringed instrument. Public diplomacy Islamic awakening In February 2011, Ali Khamenei supported the Egyptian uprising against their government, describing it as Islamic awakening instead of Arab Spring. Trying to communicate with Arab people, he addressed Egypt's protesters in Arabic. (Even though his native language is Persian.) He introduced himself as "your brother in religion", while praising the "explosion of sacred anger". Later, in "Islamic Awakening conferences" which were held in Tehran, Khamenei praised the Muslim youths of Tunisia, Libya, Egypt, Yemen and Bahrain for what he described as Islamic awakening. He also paralleled these events with Islamic revolution in Iran during his Nowruz oration in 2011. However, major protests against the Iranian regime also broke out throughout Iran in 2011, and they became known as the 2011–12 Iranian protests. Works Four main books of Rijal An Outline of Islamic Thought in the Quran Honest leader Discourse on Patience (translation by Sayyid Hussein Alamdar available online) Iqbal: Manifestation of the Islamic Spirit, Two Contemporary Muslim Views Iqbal, the Poet-Philosopher of Islamic Resurgence is one of the "Two Contemporary Muslim Views", the other one is Ali Shariati's. Replies to Inquiries about the Practical Laws of Islam (PDF version) Lessons from the Nahjul-Balaghah Human Rights in Islam The Charter of Freedom Essence of Tawhid: Denial of Servitude but to God Translations from Arabic: Future in the realm of Islam Collections: A 250 Years Old Person Palestine See also Khamenei family Motto of years in Islamic Republic of Iran Footnotes References External links Official The Office of the Supreme Leader of Iran Official English-language Twitter account Photo Pictures in Iran-Iraq War, tarikhirani.ir Ali Khamenei gallery in Khamenei's website Media Videos Video Archive of Ayatollah Khamenei Ayatollah Khamenei in the city of Ardabil reading different poems in Azerbaijani language about Imam Hussein and events in Karbala. \|- \|- \|- \|- \|- \|- 1939 births Living people 20th-century translators Al-Husayni family Anti-Americanism Central Council of the Islamic Republican Party members Combatant Clergy Association politicians Commanders-in-Chief of Iran Council of the Islamic Revolution members Deputies of Tehran, Rey, Shemiranat and Eslamshahr Grand ayatollahs Iranian Azerbaijani grand ayatollahs and clerics Iranian Azerbaijani politicians Iranian grand ayatollahs Iranian Holocaust deniers Iranian individuals subject to the U.S. Department of the Treasury sanctions Iranian Islamists Iranian people of the Iran–Iraq War Iranian poets Iranian politicians with physical disabilities Iranian religious leaders Iranian revolutionaries Iranian scholars Iranian Shia Muslims Iranian translators Islamic Republican Party secretaries-general Members of the 1st Islamic Consultative Assembly Members of the Assembly of Experts People from Mashhad People of the Iranian Revolution Presidents of Iran Shia scholars of Islam Specially Designated Nationals and Blocked Persons List Supreme Leaders of Iran Theocrats Qom Seminary alumni	false	[ "William Emil Moschella (born April 17, 1968) is an American lawyer and former Associate Deputy Attorney General.\n\nCareer \nMoschella received a bachelor's degree from the University of Virginia in 1990. Following graduation, he spent seven years in a variety of positions in the office of Congressman Frank R. Wolf (R-Va.), while attending George Mason University Law School in the evenings. From 1997 to 2003, he held a number of positions on Capitol Hill, including serving as Counsel to the House Committee on Government Reform, General Counsel to the House Committee on Rules, Chief Investigative Counsel to the House Committee on the Judiciary from 1999 to 2001, and Chief Legislative Counsel and Parliamentarian to the House Committee on the Judiciary. In 2003, he was nominated by President George W. Bush to serve as United States Assistant Attorney General for Legislative Affairs, and he was approved by the Senate on May 9, 2003.\n\nOn October 2, 2006, Moschella was named Principal Associate Deputy Attorney General succeeding William W. Mercer, who was nominated in early September to serve as Associate Attorney General.\n\nControversies\n\nMoschella was directly involved in making changes to the Patriot Act that allowed interim US Attorneys to serve indefinitely.\n\nOn March 6, 2007, Moschella testified to the House Judiciary Committee that all the US attorneys were fired for performance-related reasons, although he acknowledged that none of the attorneys were originally told why they had been fired. He also testified that the White House had no involvement in the firings of US Attorneys, testimony that was later shown to be incorrect by emails that were subsequently released.\n\nHowever, the Inspector General (IG) of the Department of Justice, after an exhaustive investigation, found that \"Moschella did not know that his testimony . . . was inaccurate. Moschella only reiterated publicly what he had been told about these issues and what [Deputy Attorney General] McNulty had previously told the Senate Judiciary Committee.\" The IG stated on page 356 of its report: \"Under these circumstances, we concluded that Moschella's inaccurate testminony was not his fault and that he should not be criticized for it.\"\n\nReferences\n\n1968 births\nLiving people\nDismissal of U.S. attorneys controversy\nUnited States Assistant Attorneys General", "The Special Counsel Independence and Integrity Act () is a proposed United States law that would impose restrictions on the firing of a special counsel appointed by the United States Attorney General.\n\nProvisions \nAccording to the Congressional Research Service summary, the bill would mandate that \"a special counsel may only be removed by the Attorney General (or the most senior Senate-confirmed Department of Justice official); may only be removed for misconduct, dereliction of duty, incapacity, conflict of interest, or other good cause; must be provided written notice that specifies the reason for removal; and may file an action to challenge the removal not later than 10 days after notice was provided.\"\n\nLegislative history\n\n115th Congress \nThe bill was sponsored by Senators Cory Booker (D-NJ), Lindsey Graham (R-SC), Chris Coons (D-DE) and Thom Tillis (R-NC). It was a consolidation of two previous proposals: the Special Counsel Independence Protection Act () sponsored by Booker and Graham, and the Special Counsel Integrity Act () sponsored by Tillis and Coons. The consolidated bill was announced on April 11, 2018, shortly after a raid on Michael Cohen related to the ongoing Special Counsel investigation, leading to renewed fears that President Donald Trump would fire Special Counsel Robert Mueller.\n\nSenate Judiciary Committee Chair Chuck Grassley (R-IA) sought expedited consideration of the bill, although its chances of reaching a vote of the full Senate were considered slim due to opposition by the Republican leadership, even if the bill was passed by the committee. Senate Majority Leader Mitch McConnell (R-KY) on April 17 said that he would not bring the bill up for a vote of the full Senate, but Grassley said the Judiciary Committee would vote on it anyway. It was reported that Grassley was seeking an amendment that would require advance notice to Congress of a removal, and would require Congress to be notified if the scope of the special counsel's investigation changes. However, these changes were not included in the bill. The bill passed the committee on a 14–7 vote on April 26.\n\nOn September 27, 2018, Democrats tried to insert the text of the bill into three tax bills under consideration as an amendment, but the proposals were voted down.\n\n116th Congress \nVersions of the bill were reintroduced at the beginning of the 116th United States Congress in January 2019 in both the House and the Senate. Although bill sponsor Lindsey Graham had become the Senate Judiciary Committee Chair, the Senate leadership was still opposed.\n\nReactions \nMembers of the Republican Senate leadership opposed the bill. McConnell said, \"There's no indication that Mueller's going to be fired\", and \"I'm the one who decides what we take to the floor, that's my responsibility as the majority leader, and we will not be having this on the floor of the Senate.\" Senate Majority Whip John Cornyn (R-TX) said, \"I don't think it's necessary. And if it did pass, would the president sign it? I think it's unlikely that he would.\" Senate Minority Leader Chuck Schumer (D-NY) supported the bill, saying \"Why not pass this legislation now and avoid a constitutional crisis?\"\n\nSee also\nTimeline of investigations into Trump and Russia (January–June 2018)\n\nReferences \n\nProposed legislation of the 115th United States Congress" ]
[ "James Traficant", "Early life, education, and career" ]	C_599d2bfc71654c9b9e1edc5bb638d5d1_1	when did he first show interest in politics?	1	When did James Traficant first show interest in politics?	James Traficant	Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER	worked as consumer finance director	James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life, education, and career Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. U.S. House of Representatives While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well." By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also Pat Tillman Paul Wellstone List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne \|- 1941 births 2014 deaths 20th-century American politicians 21st-century American non-fiction writers 21st-century American politicians 21st-century American male writers Accidental deaths in Ohio Activists from Ohio American anti–illegal immigration activists American football quarterbacks American male non-fiction writers American people convicted of tax crimes American people of Hungarian descent American politicians of Italian descent American political writers American talk radio hosts Candidates in the 1988 United States presidential election Deaths from asphyxiation Democratic Party members of the United States House of Representatives Democratic Party members of the United States House of Representatives from Ohio Expelled members of the United States House of Representatives Farming accident deaths Members of the United States Congress stripped of committee assignment Members of the United States House of Representatives from Ohio Monetary reformers Ohio Democrats Ohio Independents Ohio politicians convicted of crimes Ohio sheriffs Pittsburgh Panthers football players Politicians convicted of bribery under 18 U.S.C. § 201 Politicians convicted of conspiracy to defraud the United States Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Politicians from Youngstown, Ohio Prisoners and detainees of the United States federal government University of Pittsburgh alumni Writers from Youngstown, Ohio Youngstown State University alumni	false	[ "The Progressive Populist is a magazine in tabloid newspaper format published twice monthly. Founded in 1995, the magazine is based in Storm Lake, Iowa, with editorial offices in Manchaca, Texas. The editor is James M. Cullen, managing editor is Art Cullen and the publisher is John Cullen.\n\nThe magazine labels itself as \"A Journal from America's Heartland.\" It deals with political and economic topics of interest to \"workers, small businesses, and family farmers and ranchers\"; according to its \"About\" page, the journal \"report[s] on issues of interest to the middle class of America.\"\n\nThe magazine publishes original and syndicated columns of progressive journalists and pundits. \n\nFrom October 31, 2010, to February 2, 2012, The Progressive Populist had a partnership with Vicki Nikolaidis to produce an Internet radio show via Blogtalkradio. For the first two editions of the program, held on October 31 and November 11, the show was called The Progressive Politics Show and was hosted on Asnycnow Radio One. The show was renamed Talking Progressive Politics and moved to the Populist'''s BTR service since November 17, 2010. The final show associated with the Populist aired on January 5, 2012, and the show continued until its final broadcast on February 2, 2012. The show has since been canceled. All past broadcasts have been pulled from Blogtalkradio and Vicki Nikolaidis has moved on to the Politics Daily'' show with BostonRed.\n\nReferences\n\nExternal links \n Official site\n The Progressive Populist Blog\n Former show page at Asnycnow Radio\n\nAlternative magazines\nBimonthly magazines published in the United States\nBusiness magazines published in the United States\nMagazines established in 1995\nMagazines published in Iowa\nPolitical magazines published in the United States\nPopulism", "Rex Orville Montague Paul (born January 8, 1945), better known as Kojo Nnamdi (), is a Guyanese-born American radio journalist based in Washington, D. C. He is the host of The Kojo Nnamdi Show and The Politics Hour on WAMU, and hosted the Evening Exchange broadcast on WHUT-TV from 1985 to 2011.\n\nEarly life\nNnamdi was born Rex Orville Montague Paul in British Guiana on January 8, 1945. As a high school student, Nnamdi and his friends opposed British colonialism, at odds with their parents.\n\nIn 1967, a year after Guyana became independent from British rule, Nnamdi moved to Montreal, Canada to attend McGill University after his mother secretly saved her earnings from selling insurance and filled out an application on his behalf. While attending McGill, Nnamdi became interested in the Black Power movement. After a year at McGill, Nnamdi moved to the New York City borough of Brooklyn in the U.S., where he worked on Wall Street and joined the Black Panther Party. However, not long after joining the Panthers Nnamdi drifted out of the Party. Nnamdi had been seeking a Black Nationalist and Pan-Africanism supporting organisation, whereas by this time the Black Panthers had embraced internationalism and were committed to working with people of all races towards a socialist America. It would not be until later in life that Nnamdi would embrace Marxist theory as the Panthers had.\n\nNnamdi moved to Washington, D.C. in 1969 and enrolled in Federal City College, now the University of the District of Columbia. While attending the college, Nnamdi joined former members of the Student Nonviolent Coordinating Committee to form the Center for Black Education.\n\nBroadcasting career\n\nEarly radio career (1969–1985)\nNnamdi began his radio career in 1969 as an actor and director for children's plays that aired Sundays on Washington rhythm and blues radio station WOL. With the on-air name \"Brother Uwezo\", Nnamdi became editor for Sauti, a news magazine program on WOL, in 1970. After marrying in 1971, he adopted the on-air name that he would use for the rest of his career, Kojo Nnamdi. He described it as an \"African Christian name and surname that made more sense\", first name \"Kojo\" being an Akan name for \"Monday\" and surname \"Nnamdi\" after the first President of Nigeria, Nnamdi Azikiwe.\n\nIn 1973, Nnamdi became news editor at WHUR, the radio station of Howard University, a historically black university in Washington. Later becoming news director, Nnamdi helped produce The Daily Drum, a local news program.\n\nEvening Exchange (1985–2011)\nNnamdi left WHUR in 1985 to join Howard television station WHMM (later WHUT) as host of Evening Exchange, a public affairs show. Nnamdi hosted Evening Exchange until 2011.\n\nOn June 13, 1990, Evening Exchange received its highest viewership numbers when Washington mayor Marion Barry announced on the show that he would not seek a fourth term.\n\nPublic Interest and The Kojo Nnamdi Show (1998–present)\nOn August 31, 1998, Nnamdi became host of Public Interest on Washington public radio station WAMU, a show renamed from The Derek McGinty Show. In January of that year, previous host Derek McGinty left WAMU for CBS News. A two-hour program, one hour focused on local issues and was broadcast exclusively on WAMU, and the other discussed national topics and was distributed by National Public Radio (NPR) to around 40 stations. On September 30, 2002, Public Interest was renamed The Kojo Nnamdi Show and dropped national distribution.\n\nOn Fridays, Nnamdi hosts The Politics Hour, which covers topics related to political issues and events in the Washington, D.C. metropolitan area, including surrounding Maryland and Virginia regions. Before May 2008, the show was titled The D.C. Politics Hour and focused solely on the D.C.-area political scene. The show was renamed The Politics Hour in May 2008, after WAMU fired resident political analyst and Washington Examiner columnist Jonetta Rose Barras over a salary dispute. The show then featured guest analysts until the long-term hiring of WRC-TV political reporter Tom Sherwood in February 2009.\n\nBarras joined the program after the late Mark Plotkin left in April 2002 to set up shop at all-news station WTOP, where he hosted The Politics Program. Originally called The Politics Hour, the name of Plotkin's show was changed after WAMU threatened a lawsuit. Nonetheless, Plotkin said in a 2006 online chat that he and Nnamdi remain friendly and regularly have dinner together.\n\nEvery Tuesday the first half of the show consists of a segment called Tech Tuesday that attempts to keep listeners current on various computer/computing and technology issues. For a number of years, the first Tuesday of the month featured \"The Computer Guys,\" John Gilroy and Tom Pivovar. Pivovar left the program in early 2006 in a contract dispute and has been since replaced with a rotation of recurring expert guests, most of whom are employed at either Mid-Atlantic Consulting or the University of Maryland, College Park.\n\nOn April 1, 2021, Kojo ended his daily program, but the Politics Hour continues on Fridays.\n\nReferences\n\nExternal links\n\n The Kojo Nnamdi Show official website\n \n WashingtonPost.com online chat with Mark Plotkin, April 25, 2006\n\n1945 births\nLiving people\nGuyanese journalists\nAfrican-American communists\nAmerican male journalists\nAmerican radio personalities\nGuyanese radio personalities\nGuyanese emigrants to the United States\nMcGill University alumni\nUniversity of the District of Columbia alumni\nNPR personalities\nRadio personalities from Washington, D.C.\nPeople from Brooklyn\nMembers of the Black Panther Party" ]
[ "James Traficant", "Early life, education, and career", "when did he first show interest in politics?", "worked as consumer finance director" ]	C_599d2bfc71654c9b9e1edc5bb638d5d1_1	where did he go to school?	2	Where did James Traficant go to school?	James Traficant	Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER	University of Pittsburgh	James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life, education, and career Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. U.S. House of Representatives While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well." By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also Pat Tillman Paul Wellstone List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne \|- 1941 births 2014 deaths 20th-century American politicians 21st-century American non-fiction writers 21st-century American politicians 21st-century American male writers Accidental deaths in Ohio Activists from Ohio American anti–illegal immigration activists American football quarterbacks American male non-fiction writers American people convicted of tax crimes American people of Hungarian descent American politicians of Italian descent American political writers American talk radio hosts Candidates in the 1988 United States presidential election Deaths from asphyxiation Democratic Party members of the United States House of Representatives Democratic Party members of the United States House of Representatives from Ohio Expelled members of the United States House of Representatives Farming accident deaths Members of the United States Congress stripped of committee assignment Members of the United States House of Representatives from Ohio Monetary reformers Ohio Democrats Ohio Independents Ohio politicians convicted of crimes Ohio sheriffs Pittsburgh Panthers football players Politicians convicted of bribery under 18 U.S.C. § 201 Politicians convicted of conspiracy to defraud the United States Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Politicians from Youngstown, Ohio Prisoners and detainees of the United States federal government University of Pittsburgh alumni Writers from Youngstown, Ohio Youngstown State University alumni	true	[ "Where Did We Go Wrong may refer to:\n \"Where Did We Go Wrong\" (Dondria song), 2010\n \"Where Did We Go Wrong\" (Toni Braxton and Babyface song), 2013\n \"Where Did We Go Wrong\", a song by Petula Clark from the album My Love\n \"Where Did We Go Wrong\", a song by Diana Ross from the album Ross\n \"Where Did We Go Wrong\", a 1980 song by Frankie Valli", "California Concordia College existed in Oakland, California, United States from 1906 until 1973.\n\nAmong the presidents of California Concordia College was Johann Theodore Gotthold Brohm Jr.\n\nCalifornia Concordia College and the Academy of California College were located at 2365 Camden Street, Oakland, California. Some of the school buildings still exist at this location, but older buildings that housed the earlier classrooms and later the dormitories are gone. The site is now the location of the Spectrum Center Camden Campus, a provider of special education services.\n\nThe \"Academy\" was the official name for the high school. California Concordia was a six-year institution patterned after the German gymnasium. This provided four years of high school, plus two years of junior college. Years in the school took their names from Latin numbers and referred to the years to go before graduation. The classes were named:\n\n Sexta - 6 years to go; high school freshman\n Qunita - 5 years to go; high school sophomore\n Quarta - 4 years to go; high school junior\n Tertia - 3 years to go; high school senior\n Secunda - 2 years to go; college freshman\n Prima - 1 year to go; college sophomore\n\nThose in Sexta were usually hazed in a mild way by upperclassmen. In addition, those in Sexta were required to do a certain amount of clean-up work around the school, such as picking up trash.\n\nMost students, even high school freshmen, lived in dormitories. High school students were supervised by \"proctors\" (selected high school seniors in Tertia). High school students were required to study for two hours each night in their study rooms from 7:00 to 9:00 pm. Students could not leave their rooms for any reason without permission. This requirement came as quite a shock to those in Sexta (freshmen) on their first night, when they were caught and scolded by a proctor when they left their study room to go to the bathroom without permission. Seniors (those in Tertia) were allowed one night off where they did not need to be in their study hall.\n\nFrom 9:00 to 9:30 pm all students gathered for a chapel service. From 9:30 to 10 pm, high school students were free to roam, and sometimes went to the local Lucky Supermarket to purchase snacks. All high school students were required to be in bed with lights out by 10:00 pm. There were generally five students in each dormitory room. The room had two sections: a bedroom area and (across the hallway) another room for studying. Four beds, including at least one bunk bed, were in the bedroom, and four or five desks were in the study room\n\nA few interesting words used by Concordia students were \"fink\" and \"rack.\" To \"fink\" meant to \"sing like a canary\" or \"squeal.\" A student who finked told everything he knew about a misbehavior committed by another student. \"Rack\" was actually an official term used by proctors and administrators who lived on campus in the dormitories with students. When students misbehaved they were racked (punished). Proctors held a meeting once a week and decided which students, if any, deserved to be racked. If a student were racked, he might be forbidden from leaving the campus grounds, even during normal free time School hours were from 7:30 am to 3:30 pm. After 3:30 pm and until 7:00 pm, students could normally explore the local area surrounding the school, for example, to go to a local store to buy a snack. However, if a student were racked for the week, he could not do so.\n\nProctors made their rounds in the morning to make sure beds were made and inspected rooms in the evening to ensure that students were in bed by 10:00 pm. Often after the proctors left a room at night, the room lights would go back on and students enjoyed studying their National Geographic magazines. Student might be racked if they failed to make their beds or did not make them neatly enough.\n\nAlthough California Concordia College no longer exists, it does receive some recognition by Concordia University Irvine. This is also the location of its old academic records.\n\nSources\n\nExternal links \n Photos of old campus\n\nEducational institutions disestablished in 1973\nDefunct private universities and colleges in California\nEducational institutions established in 1906\n1906 establishments in California\n1973 disestablishments in California\nUniversities and colleges affiliated with the Lutheran Church–Missouri Synod" ]
[ "James Traficant", "Early life, education, and career", "when did he first show interest in politics?", "worked as consumer finance director", "where did he go to school?", "University of Pittsburgh" ]	C_599d2bfc71654c9b9e1edc5bb638d5d1_1	what did his parents do?	3	What did James Traficant's parents do?	James Traficant	Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER	working-class Catholic family	James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life, education, and career Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. U.S. House of Representatives While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well." By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also Pat Tillman Paul Wellstone List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne \|- 1941 births 2014 deaths 20th-century American politicians 21st-century American non-fiction writers 21st-century American politicians 21st-century American male writers Accidental deaths in Ohio Activists from Ohio American anti–illegal immigration activists American football quarterbacks American male non-fiction writers American people convicted of tax crimes American people of Hungarian descent American politicians of Italian descent American political writers American talk radio hosts Candidates in the 1988 United States presidential election Deaths from asphyxiation Democratic Party members of the United States House of Representatives Democratic Party members of the United States House of Representatives from Ohio Expelled members of the United States House of Representatives Farming accident deaths Members of the United States Congress stripped of committee assignment Members of the United States House of Representatives from Ohio Monetary reformers Ohio Democrats Ohio Independents Ohio politicians convicted of crimes Ohio sheriffs Pittsburgh Panthers football players Politicians convicted of bribery under 18 U.S.C. § 201 Politicians convicted of conspiracy to defraud the United States Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Politicians from Youngstown, Ohio Prisoners and detainees of the United States federal government University of Pittsburgh alumni Writers from Youngstown, Ohio Youngstown State University alumni	true	[ "Phil Waldrep is Southern Baptist preacher, evangelist, and author based in Decatur, Alabama. He is the Founder and President of Phil Waldrep Ministries, an evangelical nonprofit that organizes Christian conferences.\n\nWaldrep was born in Morgan County, Alabama, near Decatur, Alabama. His father, Linnes Waldrep, was a factory worker, but he is the grandson and great-grandson of Baptist preachers. He began preaching at the age of 14. Waldrep is a graduate of Calhoun Community College, of the University of Alabama, and of Luther Rice College and Seminary. He and his wife, Debbie, have two children.\n\nWaldrep founded Phil Waldrep Ministries, which organizes Christian conferences. On October 5, 2009, Waldrep launched a 25-minute radio program, Living with Joy! Radio, broadcast on 500 stations of CSN International in heard in 46 states.\n\nWaldrep's 2002 book, Parenting Prodigals, offers guidance to parents whose children have rejected faith, with special attention to Christian parents whose children have not only left the faith, but who have also fallen prey to alcohol abuse, drug abuse and criminal activities. His advice to parents includes encouragement to \"pray specifically,\" \"love your child unconditionally,\" and \"allow sin to run its course.\"\n\nBooks\n Reaching Your Prodigal: What Did I Do Wrong? What Do I Do Now? Worthy Publishing, 2016. \n The Grandparent Factor: Five Ways to make a Difference in the Life of Your Grandchild, Baxter Press, 2003. \n Parenting Prodigals: Six Principles to Get Your Son or Daughter Back to God, Baxter Press, 2001.\n\nReferences\n\nLiving people\nAmerican clergy\nSouthern Baptists\nChristian writers\nAmerican evangelists\nYear of birth missing (living people)", "\"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)" ]
[ "James Traficant", "Early life, education, and career", "when did he first show interest in politics?", "worked as consumer finance director", "where did he go to school?", "University of Pittsburgh", "what did his parents do?", "working-class Catholic family" ]	C_599d2bfc71654c9b9e1edc5bb638d5d1_1	what did he study in college?	4	What did James Traficant study in college?	James Traficant	Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER	CANNOTANSWER	James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life, education, and career Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. U.S. House of Representatives While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well." By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also Pat Tillman Paul Wellstone List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne \|- 1941 births 2014 deaths 20th-century American politicians 21st-century American non-fiction writers 21st-century American politicians 21st-century American male writers Accidental deaths in Ohio Activists from Ohio American anti–illegal immigration activists American football quarterbacks American male non-fiction writers American people convicted of tax crimes American people of Hungarian descent American politicians of Italian descent American political writers American talk radio hosts Candidates in the 1988 United States presidential election Deaths from asphyxiation Democratic Party members of the United States House of Representatives Democratic Party members of the United States House of Representatives from Ohio Expelled members of the United States House of Representatives Farming accident deaths Members of the United States Congress stripped of committee assignment Members of the United States House of Representatives from Ohio Monetary reformers Ohio Democrats Ohio Independents Ohio politicians convicted of crimes Ohio sheriffs Pittsburgh Panthers football players Politicians convicted of bribery under 18 U.S.C. § 201 Politicians convicted of conspiracy to defraud the United States Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Politicians from Youngstown, Ohio Prisoners and detainees of the United States federal government University of Pittsburgh alumni Writers from Youngstown, Ohio Youngstown State University alumni	false	[ "Michael Herman (192912 February 2021) was a former British intelligence officer for GCHQ and academic. He was a former Fellow at Nuffield College and St Antony's College at the University of Oxford, and the founder of the Oxford Intelligence Group. He was the author and/or editor of three books on intelligence, including Intelligence Power in Peace and War, described as \"a key reference point for all those seeking to study the nature, roles and impact of intelligence as a state function, influencing a whole generation of academics drawn to its study.\"\n\nEarly life\nMichael Herman was born in 1929. He was educated at the Scarborough High School and graduated from The Queen's College, Oxford, where he read Modern History. He served in the Intelligence Corps of the British Army in Egypt from 1947 to 1949. Michael Herman died on 12th February 2021.\n\nCareer\nHerman worked for the Government Communications Headquarters from 1952 to 1987. During that period, he also worked as Secretary of the Joint Intelligence Committee in the Cabinet Office and as a staff member of Defence Intelligence. On retiring from GCHQ in 1987, Herman became a Gwilym Gibbon Research Fellow at Nuffield College, Oxford. He was subsequently an Honorary Departmental Fellow in the Department of International Politics at Aberystwyth University in Wales and a Senior Associate Fellow of St. Antony’s College, Oxford. He was also the founding director of the Oxford Intelligence Group. He gave evidence before the Butler Review in 2004. Herman was the recipient of the St Antony's plaque from St Antony's College in 2004, an Honorary Doctorate of Letters from the University of Nottingham in 2005 and the Lifetime Achievement Award from the International Association for Intelligence Education in 2016.\n\nHerman was the author of two books and the editor of a third book, all of which are about intelligence. His first book, Intelligence Power in Peace and War, was published in 1996. It was reviewed by Percy Cradock in International Affairs, Michael I. Handel in The International History Review, and Jérôme Marchand in Politique étrangère. According to Professor Mark Phythian of the University of Leicester, the book became \"a key reference point for all those seeking to study the nature, roles and impact of intelligence as a state function, influencing a whole generation of academics drawn to its study.\" In 2001, Herman published a second book, Intelligence Services in the Information Age: Theory and Practice. He co-edited Intelligence in the Cold War: What Difference Did It Make? with Gwilym Hughes in 2013.\n\nWorks\n\nReferences\n\n2021 deaths\n1929 births\nAlumni of The Queen's College, Oxford\nGCHQ people\nFellows of Nuffield College, Oxford\nFellows of St Antony's College, Oxford\nAcademics of Aberystwyth University\nBritish historians of espionage", "Edward Ernest Hughes (7 February 1877 – 23 December 1953) was the first professor of history at University College, Swansea.\n\nLife\nHughes was born on 7 February 1877 in Tywyn, Merionethshire, Wales. As a result of a childhood accident, he was blind in one eye and his other eye was damaged; he compensated by developing his memory and hearing. After studying at Bala Grammar School, he obtained a first-class degree in history from the University College of Wales, Aberystwyth in 1898. He then obtained a second-class honours degree in modern history from Jesus College, Oxford in 1902. He taught history in the boys' school in Llanelli, south Wales before his appointment as lecturer in history at University College, Cardiff, acting as professor during the illness of the incumbent. He lectured on Welsh history for the Workers' Educational Association in Glamorgan at a time when there was no extramural department at the university. He was regarded as a \"gifted story-teller\" and did much to popularise the study of Welsh history.\n\nHe moved to the University College, Swansea when it was founded in 1920 after being persuaded to do so by the principal, Franklin Sibly, who wanted a Welshman who understood what the new college would need to do in an industrial area. Hughes, who was the only Arts lecturer for a time, did much to bring the college to the public's attention. He raised funds by lecturing on Welsh history in the area and donating the proceeds to set up the library of the college. He was appointed the first professor of history in 1926, but continued to lecture (in both Welsh and English) outside the university to classes and societies. He required every student in his department to study some Welsh history, but he had Glyn Roberts (later to be Professor of Welsh History at University College, Bangor) to teach these classes, since Roberts had research qualifications that Hughes could not obtain with his worsening eyesight. Hughes taught the constitutional history of England in the Middle Ages and also Europe after the fall of Rome. He retired in 1944, and died on 23 December 1953.\n\nOutside the university, he was chairman of the Swansea Drama Company (acting and producing as well), and of the Swansea Orpheus Musical Society. He was a council member and drama adjudicator of the National Eisteddfod, served on committees of the University of Wales and was a governor of the National Library of Wales. He also broadcast on the BBC in Wales.\n\nReferences\n\n1877 births\n1953 deaths\nAlumni of Aberystwyth University\nAlumni of Jesus College, Oxford\nAcademics of Cardiff University\nAcademics of Swansea University\nWelsh historians\nPeople from Tywyn" ]
[ "James Traficant", "Early life, education, and career", "when did he first show interest in politics?", "worked as consumer finance director", "where did he go to school?", "University of Pittsburgh", "what did his parents do?", "working-class Catholic family", "what did he study in college?", "I don't know." ]	C_599d2bfc71654c9b9e1edc5bb638d5d1_1	Are there any other interesting aspects about this article?	5	Besides James Traficant's political interest, education, and parents, are there any other interesting aspects about this article?	James Traficant	Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER	serving as sheriff,	James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life, education, and career Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. U.S. House of Representatives While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well." By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also Pat Tillman Paul Wellstone List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne \|- 1941 births 2014 deaths 20th-century American politicians 21st-century American non-fiction writers 21st-century American politicians 21st-century American male writers Accidental deaths in Ohio Activists from Ohio American anti–illegal immigration activists American football quarterbacks American male non-fiction writers American people convicted of tax crimes American people of Hungarian descent American politicians of Italian descent American political writers American talk radio hosts Candidates in the 1988 United States presidential election Deaths from asphyxiation Democratic Party members of the United States House of Representatives Democratic Party members of the United States House of Representatives from Ohio Expelled members of the United States House of Representatives Farming accident deaths Members of the United States Congress stripped of committee assignment Members of the United States House of Representatives from Ohio Monetary reformers Ohio Democrats Ohio Independents Ohio politicians convicted of crimes Ohio sheriffs Pittsburgh Panthers football players Politicians convicted of bribery under 18 U.S.C. § 201 Politicians convicted of conspiracy to defraud the United States Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Politicians from Youngstown, Ohio Prisoners and detainees of the United States federal government University of Pittsburgh alumni Writers from Youngstown, Ohio Youngstown State University alumni	true	[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts" ]
[ "James Traficant", "Early life, education, and career", "when did he first show interest in politics?", "worked as consumer finance director", "where did he go to school?", "University of Pittsburgh", "what did his parents do?", "working-class Catholic family", "what did he study in college?", "I don't know.", "Are there any other interesting aspects about this article?", "serving as sheriff," ]	C_599d2bfc71654c9b9e1edc5bb638d5d1_1	where did he serve as a sheriff?	6	Where did James Traficant serve as a sheriff?	James Traficant	Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (nee Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Slovak ancestry. Traficant graduated from Cardinal Mooney High School in 1959 and the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained a master's degree from the University of Pittsburgh (1973) and another from Youngstown State University (1976). At the start of his career, Traficant worked as consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work by the recent closures of steel mills. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. CANNOTANSWER	Sheriff of Mahoning County	James Anthony Traficant Jr. (May 8, 1941 – September 27, 2014) was an American politician who served as a Democratic, and later independent, member of the United States House of Representatives from Ohio. He represented the 17th Congressional District, which centered on his hometown of Youngstown and included parts of three counties in northeast Ohio's Mahoning Valley. He was expelled from the House after being convicted of 10 felony counts including taking bribes, filing false tax returns, racketeering, and forcing his Congressional staff to perform chores at his farm in Ohio and houseboat in Washington, D.C. He was sentenced to prison and released on September 2, 2009, after serving a seven-year sentence. Traficant died on September 27, 2014, following a tractor accident at his farm in Green Township, Ohio. Early life, education, and career Born into a working-class Catholic family in Youngstown, Ohio, Traficant was the son of Agnes (née Farkas) and James Anthony Traficant Sr. He was of mostly Italian and Hungarian ancestry. Traficant graduated from Cardinal Mooney High School in 1959 before receiving a B.S. in education from the University of Pittsburgh in 1963. He played quarterback for Pitt's football team, and his teammates included Mike Ditka. Traficant was drafted in the NFL's twentieth round (276th overall) by the Pittsburgh Steelers in 1963, and tried out for the Steelers and the Oakland Raiders of the American Football League, but did not play professionally. He later obtained an M.S. in educational administration from the University of Pittsburgh in 1973 and a second master's degree in counseling from Youngstown State University in 1976. At the start of his career, Traficant was the consumer finance director for the Youngstown Community Action Program. He taught courses on drug and alcohol dependency and recovery at Youngstown State University and Kent State University, as well as lecturing on drug and alcohol abuse for colleges and government agencies outside Ohio. In addition, Traficant taught at the Ohio Peace Officer Training Academy. He was the executive director of the Mahoning County Drug Program from 1971 to 1981, and Sheriff of Mahoning County from 1981 to 1985. While serving as sheriff, Traficant made national headlines by refusing to execute foreclosure orders on several unemployed homeowners, many of whom had been left out of work. This endeared him to the local population, which was dealing with a declining economy following the closures and relocations of steel making and steel-associated businesses. In 1983, he was charged with racketeering for accepting bribes. Traficant, who represented himself in the criminal trial, argued that he accepted the bribes only as part of his own alleged secret undercover investigation into corruption. Traficant was acquitted of the charges, becoming the only person ever to win a Racketeer Influenced and Corrupt Organizations Act (RICO) case while representing himself. Publicity from the RICO trial increased Traficant's local visibility. He was elected as a Democrat to Congress from Ohio's 17th District, defeating Lyle Williams, a three-term Republican incumbent. He was reelected eight times without serious opposition. In 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. U.S. House of Representatives While in Congress, Traficant was a supporter of immigration reduction, and a strong opponent of illegal immigration. In the controversy surrounding the defeat of Congressman Bob Dornan (R-CA) by Democrat Loretta Sanchez, Traficant was the only Democratic member of Congress who advocated a new election, due to Dornan's allegations of voting in that race by undocumented immigrants. The allegations went unproven, and a new election was not held. Traficant's major legislative accomplishment in the House was the adoption of some of his proposals to constrain enforcement activities by the Internal Revenue Service against delinquent taxpayers. After the Republicans took control of the House in 1995, Traficant tended to vote more often with the Republicans than with his own party. On the issue of abortion, Traficant voted with the position of the National Right to Life Committee 95% of the time in the 105th Congress, and 100% of the time in the 106th and 107th Congresses. However, he voted against all four articles of impeachment against Bill Clinton. After he voted for Republican Dennis Hastert for Speaker of the House in 2001, the Democrats stripped him of his seniority and refused to give him any committee assignments. Because the Republicans did not assign him to any committees either, Traficant became the first member of the House of Representatives in over a century—outside the top leadership—to lack a single committee assignment. Defense of John Demjanjuk Traficant championed the unpopular case of John Demjanjuk, a Ukrainian-born autoworker from Seven Hills, who had been convicted in Israel and sentenced to hang for having been the brutal Nazi concentration camp guard Ivan the Terrible. For almost a decade, Traficant (along with Pat Buchanan) insisted that Demjanjuk had been denied a fair trial, and been the victim of mistaken identity; in 1993 the Supreme Court of Israel overturned the conviction, on the basis of doubt. Demjanjuk was later deported to Germany on May 11, 2009, after the Supreme Court of the United States refused to overturn his deportation order. Demjanjuk was tried and convicted by a German criminal court of being an accessory to murder, but died before the German Appellate Court could hear his case, thereby voiding the conviction. Defense of Arthur Rudolph Following Pat Buchanan's recommendation to reconsider the denaturalization of former Nazi and NASA scientist Arthur Rudolph, who had been brought to the United States under Operation Paperclip, Traficant spoke to the Friends of Arthur Rudolph, an organization based in Huntsville, Alabama. He argued that denaturalization had happened because of a "powerful Jewish lobby" influencing Congress. He added that it was a violation of a United States citizen's civil rights, and he suggested that Rudolph return to the United States nonetheless. Additionally, he "introduced a resolution in Congress [...] calling for an investigation into the OSI's handling of Rudolph's case." Meanwhile, in 1990, Traficant had planned to meet Rudolph in Niagara Falls, on the Canadian–American border; however, Rudolph was arrested by immigration officials in Toronto, and the meeting never occurred. Trial and expulsion In 2001, Traficant was indicted on federal corruption charges for taking campaign funds for personal use. Again, he opted to represent himself, insisting that the trial was part of a vendetta against him dating back to his 1983 trial. After a two-month federal trial, on April 11, 2002, he was convicted of 10 felony counts including bribery, racketeering, and tax evasion. Per longstanding House convention, the House Democrats directed him not to cast any votes from the floor pending an investigation by the United States House Committee on Ethics. Eventually, the House Ethics Committee recommended that Traficant be expelled from Congress. On July 24, the House voted to expel him by a 420–1 vote. The sole vote against expulsion was Representative Gary Condit, who at the time was in the midst of a scandal of his own and had been defeated in his reelection primary. Traficant was the first representative to be expelled since Michael Myers's expulsion in 1980 as a result of the Abscam scandal. After his expulsion, Traficant ran as an independent candidate for another term in the House while incarcerated at the United States Penitentiary, Allenwood. He received 28,045 votes, or 15 percent, and became one of only a handful of individuals in the history of the United States to run for a federal office from prison. The election was won by one of his former aides, Tim Ryan. Prison and later life Incarceration Traficant entered the Federal Correctional Institution, Allenwood Low, on August 6, 2002, with the Federal Bureau of Prisons ID # 31213-060. He served his first seventeen months at Allenwood. He said that he was put in solitary confinement shortly after his arrival for incitement to riot after he told a guard, "People can't hear you. Speak up." During the seven years of his incarceration, Traficant refused any visitors, saying that he didn't want anyone to see him. He was released on September 2, 2009, at age 68, and was subject to three years of probation. While in prison, Traficant received support from neo-Nazi David Duke, who urged visitors to his personal website to donate to his personal fund. Duke posted a letter written by Traficant stating that he was targeted by the United States Department of Justice for, among other things, defending John Demjanjuk. Traficant also claimed, in the letter, that he knew facts about "Waco, Ruby Ridge, Pan Am Flight 103, Jimmy Hoffa and the John F. Kennedy assassination", which he may divulge in the future. Author Michael Collins Piper, who authored Target: Traficant, The Untold Story initially helped circulate Traficant's letter, said that "There's stuff I've written about Traficant that's showing up in places I don't even know. It's like (six) degrees of separation with the Internet now," and denied that Traficant had any direct connections to Duke. Release Traficant was released from prison on September 2, 2009. On September 6, 2009, 1,200 supporters welcomed him home at a banquet with an Elvis impersonator, and a Traficant lookalike contest. "Welcome home Jimbo" was printed on T-shirts. "I think it's time to tell the FBI and the IRS that this is our country and we're tired—tired of the pressure, tired of the political targeting, tired of a powerful central government that is crippling America," he said. He also said he was considering running for his old seat in Congress. Traficant signed a limited, three-month contract to work as a part-time weekend talk radio host for Cleveland news/talk station WTAM in January 2010. His contract permitted him to quit if he chose to run for office. On November 2, 2009, a column by Traficant in the American Free Press continued his defense of the accused concentration camp guard John Demjanjuk. Michael Collins Piper defended Traficant against his accusers. 2010 congressional campaign In September 2010, Traficant was certified to run for the same seat he held before his expulsion, and said that his platform would be to repeal the Sixteenth Amendment to the United States Constitution. Traficant lost the election to his former aide Tim Ryan, to whom he lost an earlier race in 2002, in which Traficant ran as an independent from his prison cell. Traficant received 30,556 votes, or 16%. Post-prison life After his release from prison, he was featured as a guest speaker at a Tea Party protest in Columbiana, Ohio, among other events affiliated with reactionary politics. Traficant began a grassroots campaign in July 2014, "Project Freedom USA", to, among other things, put people pressure on Congress to get rid of the IRS and "divorce" the Federal Reserve. Accident and death Traficant was injured in an accident at his farm on September 23, 2014. A tractor he was driving into a pole barn flipped over and trapped him underneath. Traficant was taken to Salem Regional Medical Center in Salem, Ohio, then airlifted to St. Elizabeth's Health Center in Youngstown. On the evening of September 24, his wife described him as "sedated and not doing well." By September 26, via news reports and statements from attorney and family spokesman Heidi Hanni, it was learned that the family was awaiting the doctors' assessment; there was no word as to whether or not Traficant had suffered a heart attack, but he was still unconscious and was being sedated for pain and other reasons. A number of longtime family friends, including Linda Kovachik, a former congressional aide to Traficant, told The Vindicator that it is believed Traficant had a heart attack, causing the tractor accident. A text message was sent out Friday evening September 26 by Jim Condit Jr., the Constitution Party candidate for Ohio's 8th congressional district and a close friend who had been traveling with Traficant to help promote Project Freedom USA. The text message stated that "the machines were disconnected at 2:00 p.m. (Friday). He is still breathing. Thousands are praying." On September 27, 2014, Traficant died at a hospice in Poland, Ohio, aged 73. By September 29, Traficant's body had been buried in an undisclosed location after the family had a private funeral, and announced that there would be no public funeral for him. FindAGrave website reports that Traficant was cremated. A subsequent medical investigation determined that Traficant had not had a heart attack or seizure before the accident, and was not under the influence of drugs or alcohol. In addition, he had not sustained any crushing injuries in the accident. The forensic pathologist who conducted the examination attributed Traficant's death to positional asphyxiation, stating that he had been unable to breathe because of the weight of the tractor on top of him. Publications See also Pat Tillman Paul Wellstone List of United States representatives from Ohio List of United States representatives expelled, censured, or reprimanded List of American federal politicians convicted of crimes List of federal political scandals in the United States References External links "Look at what Traficant swept under the rug" – CNN, August 1, 2002 Traficant quarterbacking Pitt over Navy Official Website by Nicky Nelson & Jim Condit Jr., Project Freedom USA James Traficant - A Tribute (Video) by Mike Wayne \|- 1941 births 2014 deaths 20th-century American politicians 21st-century American non-fiction writers 21st-century American politicians 21st-century American male writers Accidental deaths in Ohio Activists from Ohio American anti–illegal immigration activists American football quarterbacks American male non-fiction writers American people convicted of tax crimes American people of Hungarian descent American politicians of Italian descent American political writers American talk radio hosts Candidates in the 1988 United States presidential election Deaths from asphyxiation Democratic Party members of the United States House of Representatives Democratic Party members of the United States House of Representatives from Ohio Expelled members of the United States House of Representatives Farming accident deaths Members of the United States Congress stripped of committee assignment Members of the United States House of Representatives from Ohio Monetary reformers Ohio Democrats Ohio Independents Ohio politicians convicted of crimes Ohio sheriffs Pittsburgh Panthers football players Politicians convicted of bribery under 18 U.S.C. § 201 Politicians convicted of conspiracy to defraud the United States Politicians convicted of illegal gratuities under 18 U.S.C. § 201 Politicians from Youngstown, Ohio Prisoners and detainees of the United States federal government University of Pittsburgh alumni Writers from Youngstown, Ohio Youngstown State University alumni	true	[ "Edna Reed Clayton DeWees (September 5, 1921 – 2009) was an American law enforcement officer. As the sheriff of Loving County, Texas, from 1945 to 1947, she was the first woman to be elected sheriff in the state of Texas.\n\nLife and career\nDeWees was born in Mississippi on September 5, 1921. Her parents moved to Texas before she turned one year old, and she attended school in Breckenridge. After graduating from high school, DeWees worked as a deputy district clerk in Stephens County.\n\nDuring World War II, DeWees worked as a lathe operator at Vultee Aircraft in Fort Worth, and also worked at Pecos Army Airfield. DeWees began living in Loving County in the 1940s.\n\nDeWees was appointed sheriff of Loving County, Texas, in 1945, at the age of 24. She was officially elected to the office in that same year. This made her the first woman to be elected sheriff in the state of Texas. Although DeWees was the first woman elected sheriff in Texas, she was only the second woman to serve as sheriff in the state; Emma Daugherty Banister had been appointed as sheriff in Coleman County in 1918, but was never elected to that position.\n\nDeWees served as sheriff from 1945 (the year of her appointment and her election) to 1947, although the start and end dates of her term have also been given as 1946 and 1948 respectively. During her two years as sheriff, DeWees conducted only two arrests. She also did not carry a firearm. At the time of her election, Loving County was notably sparsely populated, which contributed to its low crime rate.\n\nAfter she completed her term as sheriff, DeWees worked as county district clerk in Loving from 1965 to 1986.\n\nDeWees was married twice, to George C. Clayton and to Lawrence DeWees, and she had five children. She retired to a ranch near Mentone and died at the age of 87 in 2009.\n\nReferences\n\n1921 births\n2009 deaths\nPeople from Mississippi\nTexas sheriffs\nWomen sheriffs", "Susan Benton is a civil servant and served as sheriff of Highlands County, Florida from 2005 to 2017. She was the first woman to be elected sheriff in the state of Florida, first woman to become president of the Florida Sheriff's Association in 2013, and was appointed to serve on the National Sheriffs Association Board of Directors. She has been an instructor in Public Administration at Barry University, for the Office of the Attorney General, and for the Florida Departments of Juvenile Justice and Law Enforcement. In 2014, Susan Benton was inducted into the Florida Women's Hall of Fame.\n\nSheriff of Highlands County \nSusan Benton was elected sheriff of Highlands County in 2004 by a 60% margin and was reelected for three consecutive terms. During her time as sheriff, Susan Benton was appointed to serve on the on the National Sheriffs Association Board of Directors. She retired from the position in 2017.\n\nReferences\n\nLiving people\nWomen in law enforcement\nCounty sheriffs in the United States\n1960 births" ]
[ "Allen Toussaint", "Minit and Instant Records" ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	What was his relationship with Minit and Instant Records	1	What was Allen Toussaint's relationship with Minit and Instant Records	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	false	[ "Minit Records was an American independent record label, originally based in New Orleans and founded by Joe Banashak in 1959. Ernie K. Doe, Aaron Neville, Irma Thomas, and Benny Spellman were early artists on the label. Later artists included Bobby Womack and Ike & Tina Turner.\n\nHistory\nAllen Toussaint was responsible for much of the label's early success, he wrote, produced, arranged and played piano on a number of tracks. The label's first hit was Toussaint's production of \"Ooh Poo Pah Doo - Part 2\" by Jessie Hill in 1960. After making a distribution deal with Imperial Records, the label released its biggest hit, \"Mother-in Law\" by Ernie K-Doe reached the top of the Billboard Hot 100 and the R&B singles chart in 1961.\n\nWhen Allen Toussaint was drafted into the Army in 1963, the hits dried up and the label was sold to Imperial. Banashak also owned Instant Records, which he kept. Minit was acquired by Liberty Records in 1963 as part of its acquisition of Imperial Records. In 1968, Liberty was bought by Transamerica Corporation and combined with United Artists Records. Two years later Imperial and Minit were shut down and transferred to Liberty. In 1971, Liberty and its remaining labels (except for Soul City, whose catalog was sold to Bell Records) were absorbed into United Artists. In 1979, EMI purchased United Artists. The Minit catalog is currently owned by UMG, successor-in-interest to previous owner EMI.\n\nLabel variations\n1961-1963: (catalog #s MR-601-626) Orange with black print and disclaimer indicating \"C/O Imperial Records, Hollywood, Calif. Later pressings of some records in this period are on the second label.\"\n1961-1963 (catalog #s 626-666): Black label with multi-color logo centered at top reading \"MINIT RECORDS\" with clock inside lettering; in middle of label, magenta bars contain publishing information and track time (left), catalog number and performance type (right). Silver print for all other text, including disclaimer at bottom which reads \"PRODUCED AND MANUFACTURED BY IMPERIAL RECORDS INC. HOLLYWOOD 28, CALIFORNIA, U.S.A.\"\n1964-1968: (new series, catalog #s 32000-32076) Black label with silver print, multi-color logo on left side with \"MINIT\" inside the logo and \"A PRODUCT OF LIBERTY RECORDS\" under MINIT. Disclaimer at bottom of label reads \"A DIVISION OF LIBERTY RECORDS.\"\n1969-1970: (catalog #s 32077-32088) Same as black label mentioned above but with the \"PRODUCT\" disclaimer removed under \"MINIT\" inside the logo. Disclaimer at bottom of label now reads \"LIBERTY/UA, INC.\"\n\nSelected discography\n\nAlbums\n\nSingles\n\nSee also\n List of record labels\n\nReferences\n\nDefunct record labels of the United States\nRecord labels established in 1959\nRecord labels disestablished in 1970", "Instant Records was an American independent record label based in New Orleans, Louisiana, United States, which was founded in 1961 by Joe Banashak (owner of Minit Records) and Irvin Smith. It was originally called Valiant Records until another Valiant Records threatened to sue and forced the label's renaming to Instant Records. The most successful artist on Instant was Chris Kenner. Several Instant recordings were distributed by Atlantic Records.\n\nSkip Easterling's version of Willie Dixon's \"I'm Your Hoochie Koochie Man\" (1970) was Easterling's biggest success, but its release on Instant proved to be the finale of the label's chart career.\n\nReferences\n\nExternal links\n Instant Records 45s discography from Global Dog Productions\n\nAmerican record labels\nCompanies based in New Orleans\nRecord labels established in 1961" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels," ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	What year was he hired?	2	What year was Allen Toussaint hired?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	1960,	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "Henry Wright was an early settler of Dedham, Massachusetts. As a member of the \"second generation\" of selectmen in Dedham, he served ten terms beginning in 1661.\n\nWhen land was granted to Dedham settlers in compensation for the land given to Christian Indians in what is today Natick, Massachusetts, Wright's horse was hired to go survey the land.\n\nReferences\n\nBibliography\n\nYear of birth missing\nYear of death missing\nDedham, Massachusetts selectmen\nPeople from colonial Dedham, Massachusetts", "Gebremedhin Haile (Amharic: ገብረመድህን ኃይሌ) is an Ethiopian football coach who has managed the Ethiopia national football team. Often, he is referred to as 'Gebre'.\n\nClub career\n\nCoaching Defence Force S.C. from the start of the 2011-12 Ethiopian Premier League, he vacated his position upon expiry of his contract in July 2016. Gebremedhin took Defence Force S.C. to three Ethiopian Cup finals, winning two.\nWhen managing Defence Force S.C. in 2014, he was banned for five matches for obtrusively yelling at a referee for not giving an opposing defender a red card for what he saw as violent play. The two had to be restrained to prevent the fight to escalate\n\nIn January 2017 Haile was hired as the manager of Jimma Aba Buna. In August 2018 Haile was hired to be the manager of Mekelle City FC. In 2021, Haile was hired as the manager of Sidama Coffee S.C.\n\nEthiopia National Team\n\nTaking over from the sacked Yohannes Sahle in May 2016, it was decided he was to be interim coach for a short term-from May to October 9, 2016.\n\nHis first game adverse to Lesotho, he beat them 2-1 before facing Seychelles in his last game at Ethiopia's helm.\n\nDismissed from national team manager duties in late 2016, he was replaced by Ashenafi Bekele.\n\nReferences\n\nLiving people\nEthiopia national football team managers\nEthiopian football managers\nDefence Force S.C. managers\nAssociation football forwards\nEthiopian footballers\nEthiopia international footballers\nYear of birth missing (living people)" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960," ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	Are there any other interesting aspects about this article?	3	Are there any other interesting aspects about this article in addition to when Allen Toussaint was hired?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	The early to mid-1960s are regarded as Toussaint's most creatively successful period.	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	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" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period." ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	What kind of freelance work did he do?	4	What kind of freelance work did Allen Toussaint do?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "\"What Kind of Fool\" is a 1981 vocal duet between Barbra Streisand and Barry Gibb.\n\nWhat Kind of Fool may also refer to:\n\n \"What Kind of Fool\" (Lionel Cartwright song), a 1991 song by Lionel Cartwright\n \"What Kind of Fool (Heard All That Before)\", a 1992 song performed by Kylie Minogue\n \"What Kind of Fool Am I?\", a 1962 song recorded by several artists\n \"What Kind of Fool (Do You Think I Am)\", a 1964 song by The Tamms\n \"What Kind of Fool Do You Think I Am\", a 1992 song by Lee Roy Parnell\n \"What Kind of Fool\", a 1988 single by All About Eve", "Ben Fransham is a New Zealand actor known for his role as Petyr in the 2014 comedy What We Do in the Shadows.\n\nEarly life and education\nFransham graduated from the New Zealand School of Dance in Wellington with a third-year scholarship diploma in 1991, and then won entry to The London Contemporary Dance School, but did not attend.\n\nCareer\n\nIn 1992, Fransham began freelance work, performing in Paul Jenden's Dance South, and touring the country with Footnote Dance Company.\n\nHe made his dramatic role debut as Rudy in Jacqueline Coats' stage production of Bent, which won a 1997 Chapmann Tripp Theatre Award for Most Original Production of the Year. Since then, he has performed in musical theatre, dramatic plays, vaudeville, puppetry, and sketch comedy shows, with increasing work in film and television.\n\nFransham performed in several episodes of Legend of the Seeker (2008–2010), in various featured roles of horrifying creatures. The actor has worked across multiple disciplines, including stunt performance, (e.g., with Terry Notary, in The Hobbit film trilogy, as a goblin, and with the stunt team as various orcs, goblins, humans, and elves).\n\nIn 2014, Fransham played the role of a vampire in the film What We Do in the Shadows and in 2015, he appeared in three episodes of Ash vs Evil Dead.\n\nSelected filmography\n\nFilm\n\nTelevision\n\nReferences\n\nExternal links\n \n\nYear of birth missing (living people)\nLiving people\nNew Zealand male film actors" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period.", "What kind of freelance work did he do?", "Notable examples of his work are Jessie Hill's \"Ooh Poo Pah Doo\" (" ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	Did he release any songs during this time?	5	Did Allen Toussaint release any songs during the mid 1960's?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "Katie Waissel is the debut studio album by British singer-songwriter Katie Waissel, released on 14 March 2011.\n\nBackground\nThe song \"The Ugly Truth\" premiered four days before the release of Katie Waissel. The day before the release of the album, she performed the song \"The Ugly Truth\" on The Alan Titchmarsh Show. The entire album is composed of songs recorded during her time on Green Eyed World, when she was signed to Chamberlain Records, this release concluding her two-record contract. Several of the songs can be heard as background music or as Katie performing them on Green Eyed World. Waissel spoke on the album:\n\n“I’m so excited that this album is ready for a release. I co-wrote these songs so they mean a lot to me. To have the opportunity to share them with everyone is a dream come true for me.”\n\nOther songs recorded with Chamberlain Records that have not featured on any release by Waissel but are available online are: a cover of \"Love Me Tender\", \"Love, Life and Money\", \"Crystal Lagoon\", \"Ray of Light\", \"Whole Lotta Love\", \"Rock Steady!\", and \"Maybe\". Katie Waissel did not chart on the UK Albums Chart, or see a full physical release. Since the album's release, Waissel has formed a four-member rock band named \"Red Velvet\", who are expected to release their own debut album.\n\nTrack listing\n\nNotes\n a \"Moving Mountains\" was also previously included on The Private Life of David Reed's self-titled debut album, with Waissel under the alias of \"Lola Fontaine\".\n\n b Acoustic version of \"He's In Love\"\n\nReferences\n\n2011 debut albums\nKatie Waissel albums", "Blue Eyed Kentucky Girl is a compilation album by American country singer-songwriter Loretta Lynn. It was released in 1985 via MCA Records and was produced by Owen Bradley. The album included ten previously-recorded hits by Lynn during a fifteen-year time span. All of the album's recordings were first cut on MCA/Decca Records.\n\nBackground, release and reception\nBlue Eyed Kentucky Girl was part of a series of compilations MCA released by Loretta Lynn during the 1980s. A total of ten tracks were included on the album package. The songs chosen were recorded in sessions over a fifteen-year time-span between 1964 and 1980. Eight of the album's tracks had been among Lynn's biggest hits in her career. This included signature songs, such as \"Coal Miner's Daughter\"(1970), \"You're Lookin' at Country\" (1971) and \"The Pill.\" Also included were other hits, such as \"Somebody Led Me Away\" (1981) and \"The Home You're Tearing Down\" (1965). All of the album's sessions had originally been produced by Owen Bradley, Lynn's long-time producer at MCA.\n\nBlue Eyed Kentucky Girl had first been released in 1985 via MCA Records. It was offered as both a compact disc and an audio cassette. It was later released again On November 15, 1995 via Universal Special Products on a cassette. The album did not reach any peak positions on any music publication charts, including Billboard. It also did not spawn any singles to radio. The album was reviewed by Hank Small of Allmusic following its re-release: \"Blue Eyed Kentucky Girl assembles ten tracks from Loretta Lynn's 1970s recordings for RCA [MCA], perhaps the singer's most creatively fertile period.\"\n\nTrack listing\n\nCD version\n\nCassette version\n\nPersonnel\nAll credits are adapted from the liner notes of Blue Eyed Kentucky Girl.\n\nMusical and technical personnel\n Owen Bradley – producer\n Steve Hoffman – compiled credits\n Loretta Lynn – lead vocals, harmony vocals\n\nRelease history\n\nReferences\n\n1985 compilation albums\nAlbums produced by Owen Bradley\nLoretta Lynn compilation albums\nMCA Records compilation albums" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period.", "What kind of freelance work did he do?", "Notable examples of his work are Jessie Hill's \"Ooh Poo Pah Doo\" (", "Did he release any songs during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s" ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	What kind of hits did he produce?	6	What kind of hits did Allen Toussaint produce?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	"A Certain Girl	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "ZOEgirl released multiple compilation albums.\n\nWith All of My Heart – The Greatest Hits and Greatest Hits\n\nWith All of My Heart – The Greatest Hits is the first compilation album released by ZOEgirl on December 27, 2005. It introduced two new song which were previously unreleased: \"Unchangeable\" and \"One Day\". The album was reissued on October 28, 2008 as Greatest Hits. It retains the same songs and order, except for the removal of three songs: \"Give Me One Reason\", \"Feel Alright\" and \"Different Kind Of Free\".\n\nThe Early Years\n\nThe Early Years is a compilation album by ZOEgirl, released on August 15, 2006. It features their early hits.\n\nTrack listing:\n\"I Believe\" (from their self-titled album, 2000)\n\"Anything Is Possible\" (from their self-titled album, 2000)\n\"Suddenly\" (from their self-titled album, 2000)\n\"Little Did I Know\" (from their self-titled album, 2000)\n\"Even If\" (from Life, 2001)\n\"Dismissed\" (from Life, 2001)\n\"Ordinary Day\" (from Life, 2001)\n\"Here and Now\" (from Life, 2001)\n\"You Get Me\" (from Different Kind of FREE, 2003)\n\"Inside Out\" (from Different Kind of FREE, 2003)\n\nTop 5 Hits\nTrack listing:\n \"I Believe\" (from their self-titled album)\n \"You Get Me\" (from Different Kind of FREE)\n \"Beautiful Name\" (from Different Kind of FREE)\n \"About You\" (from Room to Breathe)\n \"Scream\" (from Room to Breathe)\n\nThe Ultimate Collection\n\nThe Ultimate Collection is ZOEgirl's last compilation album. This album features most of ZOEgirl's greatest hits. It consists of two discs, each featuring a dozen of tracks.\n\nTrack listing:\nDisc 1:\n\"I Believe\" (from self-titled album)\n\"Anything Is Possible\" (from self-titled album)\n\"With All Of My Heart\"(from the Life album)\n\"You Get Me\"(from Different Kind of FREE)\n\"Forever 17\"(from the Life album)\n\"Suddenly\" (from self-titled album)\n\"Scream\"(from Room to Breathe)\n\"Dead Serious\"(from Room to Breathe)\n\"Different Kind of FREE\"(from Different Kind of FREE)\n\"Dismissed\"(from the Life album)\n\"Even If\"(from the Life album)\n\"Forevermore\"(from Room to Breathe)\n\nDisc 2:\n\"Let It Out\"(from Room to Breathe)\n\"Beautiful Name\"(from Different Kind of FREE)\n\"One Day\"(from With All of My Heart – The Greatest Hits)\n\"Skin Deep\"(from Room to Breathe)\n\"About You\"(from Room to Breathe)\n\"Plain\"(from the Life album)\n\"Good Girl\"(from Room to Breathe)\n\"Inside Out\" (from Different Kind of FREE)\n\"Living For You\"(from self-titled album)\n\"What Child Is This\"(from Unexpected Gifts: 12 New Sounds Of Christmas)\n\"Reason To Live\"(from Room to Breathe)\n\"Unchangeable\"(from With All of My Heart – The Greatest Hits)\n\nZOEgirl albums", "\"What Kind of Fool (Heard All That Before)\" is a song recorded by Australian recording artist Kylie Minogue, released as the lead single from her first greatest hits album Greatest Hits (1992). The song was written by Mike Stock, Minogue and Pete Waterman, and produced by Stock and Waterman.\n\nIt was Minogue's last original single to be released from the record label PWL, as although \"Celebration\" was released as the last single, it was a cover version, not an original single. The single was released on 10 August 1992 as a CD single and had received positive reception from music critics, many praising it as a good last single from PWL. The song peaked at number seventeen and fourteen in Australia and the United Kingdom, respectively.\n\nBackground\nThe song was taken from Minogue's first compilation album Greatest Hits as the first single and last original single to be released by her label PWL, but her second single from the album, \"Celebration\", was taken as the last single. The song was written by Stock and Waterman, as well as Minogue contributing in the lyrics and was produced by Stock and Waterman.\n\nThe cover featured Minogue photographed by close friend Katrina Jebb whilst on holiday in early 1992.\n\nReception\n\nCritical response\nThe song received generally mixed reviews from music critics. Some compared the song with \"I Should Be So Lucky\" and \"Better the Devil You Know\", but many suggested the song was regressive in comparison to Minogue's more mature work from the previous two years. Music Week commented, \"Typically bright and breezy, it is however a little slight of melody and hooks when compared to some ofher previous work – but that won't stop it from continuing her unbroken sequence of Top 20 hits.\" Tom Doyle from Smash Hits called it a \"tweety dance anthem\".\n \nMinogue admitted in an interview with the Australian Sunday Telegraph in October 2008, that she was not fond of the song: \"There's plenty I've cringed about,\" she says. \"There's one track I really didn't like called 'What Kind of Fool'. But I realised you can run, but you can't hide, so I embraced 'I Should Be So Lucky' and the rest of them.\" It also became one of Minogue's least performed tracks. It made its debut, as a short sample only on her 2005 tour Showgirl: The Greatest Hits Tour, and again in sample form on her North American Tour 2009. Minogue has also performed a chorus of the song on impromptu occasions during her 2012 Anti Tour and 2014's Kiss Me Once Tour.\n\nChart performance\nThe song did not receive great commercial attention, although became a moderate hit in the UK and Australia where it debuted at number thirty-seven (after five weeks it climbed and peaked at number seventeen.) The song debuted at number sixteen on the UK Singles Chart. later climbing to number fourteen where it peaked, staying in the charts for five weeks.\nThe song debuted at number twenty-two on the Irish Singles Chart, but became unsuccessful, falling off the charts after two weeks.\n\nMusic video\nThe music video features Minogue sunbathing in front of a blanket, while a male actor is behind it with a rose. It later showed the male and Minogue having an argument in a bedroom. In the bridge, it shows Minogue in a blue plaid dress dancing under a spotlight. She later teases her lover and dances atop a table. The music video later ends with Minogue kissing him and she walks out the room, while the man sits on a chair left alone. The song's reception itself became one of Minogue's least successful singles to date. The single's video recreated scenes made famous by Brigitte Bardot in the 1956 film And God Created Woman. The song was featured on MTV Classics channel in 2011 and was listed at number thirty-four on Evolution of... Kylie Minogue.\n\nFormats and track listings\nThese are the formats and track listings of major single releases of \"What Kind of Fool (Heard All That Before)\".\n\nCD single\n \"What Kind of Fool (Heard All That Before)\"\n \"What Kind of Fool (Heard All That Before)\" [No Tech No Logical Remix]\n \"What Kind of Fool (Heard All That Before)\" [Tech No Logical Remix]\n \"Things Can Only Get Better\" [Original 7\" Mix]\n\n7\" vinyl\n \"What Kind of Fool (Heard All That Before)\"\n \"Things Can Only Get Better\" [Original 7\" Mix]\n\n12\" vinyl\n \"What Kind of Fool (Heard All That Before)\" [No Tech No Logical Remix]\n \"What Kind of Fool (Heard All That Before)\" [Tech No Logical Remix]\n \"Things Can Only Get Better\" [Original 12\" Mix]\n\nCassette single\n \"What Kind of Fool (Heard All That Before)\"\n \"Things Can Only Get Better\" [Original 7\" Mix]\n\nDigital EP \n \"What Kind of Fool (Heard All That Before)\"\n \"What Kind of Fool (Heard All That Before)\" [No Tech No Logical Remix]\n \"What Kind of Fool (Heard All That Before)\" [Tech No Logical Remix]\n \"What Kind of Fool (Heard All That Before)\" [12\" Master Mix]\n \"What Kind of Fool (Heard All That Before)\" [Instrumental]\n \"What Kind of Fool (Heard All That Before)\" [Backing Track]\n \"Things Can Only Get Better\" [Original 7\" Mix]\n \"Things Can Only Get Better\" [Original 12\" Mix]\n \"Things Can Only Get Better\" [Original Instrumental]\n \"Things Can Only Get Better\" [Original Backing Track]\n\nLive performances\nMinogue performed the song on the following concert tours:\n Showgirl: The Greatest Hits Tour (excerpt during \"Smiley Kylie Medley\")\n Showgirl: The Homecoming Tour (excerpt during \"Everything Taboo Medley\")\n For You, for Me (excerpt during \"Everything Taboo Medley\")\n\nCharts\n\nReferences\n\n1992 singles\n1992 songs\nKylie Minogue songs\nPete Waterman Entertainment singles\nSongs written by Kylie Minogue\nSongs written by Mike Stock (musician)\nSongs written by Pete Waterman" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period.", "What kind of freelance work did he do?", "Notable examples of his work are Jessie Hill's \"Ooh Poo Pah Doo\" (", "Did he release any songs during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s", "What kind of hits did he produce?", "\"A Certain Girl" ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	What was he most successful at during this time?	7	What was Allen Toussaint most successful at during the mid 1960's?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe,	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "Jahangir Alam (born March 5, 1973) is a former Bangladeshi cricketer who played in 3 ODIs from 1997 to 1999.\nAn opening batsman who could keep wicket if necessary, Jahangir Alam was ideally suited for one day cricket. Unfortunately for Bangladesh, though enormously successful in domestic arena, he failed to perform up to expectation at the international level.\n\nEarly days\nJahangir was born on March 5, 1973, in Narayanganj, Dhaka. He first came into prominence during the U-19 tour of England in the summer of 1989. He started the tour with a hundred and continued to score consistently after that. his 132 against Wycombe was the highest score in the tour. In the process he shared a 210 run opening partnership with Javed Omar. Jahangir Alam scored 35 against Homestead & 40 against Wakeham Overall in 5 matches he scored 219 runs at an average of 43.80.\nIn contrast, he was a big failure in the Asian U-19 Cup in Dec. 1989. His highest score of 38 in 4 matches came against Sri Lanka at Chittagong.\n\nIn ICC Trophy\nApart from this, his most successful time in international cricket came during the 1994 ICC Trophy in Kenya. His century (117*) against the eventual champions UAE was the only bright point for his team, in what was a miserable campaign for them. Jahangir followed his hundred with 48 against Netherland & 57 against Kenya. ironically, Bnalgadesh lost all of these three games. He finished with 283 runs at an average of 47.16 runs per innings. He was also a member of the Bangladesh team that won the ICC Trophy in 1997. However, he played in only one of the matches (against the hosts Malaysia, in the Group stages).\n\nReferences\n\n1973 births\nLiving people\nJahangir Alam\nBangladeshi cricketers\nChittagong Division cricketers\nDhaka Division cricketers\nWicket-keepers\nPeople from Narayanganj District", "Harry Charles Lamacraft (1911 – 3 May 1943) was an English motorcycle racer, most noted for successful exploits at the Brooklands racetrack and at the Isle of Man TT in the 1930s. He took tenth place in the 1934 Isle of Man Junior TT and tenth place in the 1935 Isle of Man Senior TT. In all, he rode in the TT 11 times, finishing above 19th place every time.\n\nLamacraft was most successful racing Velocette 350 cc KTT and Excelsior (Coventry) 500 cc motorcycles. His first KTT was later sold to Bert Perryman, who began his career at Brooklands with this machine. This machine is now property of Jeff Clew and can be seen in the Haynes International Motor Museum. His second Velocette, a KTT mk IV, raced at Brooklands and the Isle of Man (1933/34 TT's), won tenth place 1933 Junior TT. This machine was sold to David Vincent, who won his Gold Star at Brooklands for lapping at 100 mph during a race with Lamacraft's former motorcycle. Lamacraft won a Gold Star at Brooklands in 1935, of a lap of over 100 mph during a race. Period photographs show that he experimented with supercharging on his mkV Velocette, presumably for racing at Brooklands.\n\nLamacraft joined the Royal Air Force during World War II and served as a flight sergeant navigator, flying a Lockheed Ventura bomber. He was killed in a mission to destroy a power plant on 3 May 1943 over the Netherlands, aged 32. He is buried in Amersfoort, the Netherlands.\n\nNotes\n\nSources\n Commonwealth War Graves Commission website record\n A Clubman at Brooklands, AC Perryman, Foulis 1979\n Kieg Collection Volume 1, BMS 1981\n 20 Squadron\n \n Reminiscences of David Vincent\n The Times, Monday, 20 March 1944; pg. 6; Issue 49809; col D\n UK Birth, Marriage and Death database\n\nEnglish motorcycle racers\n1943 deaths\n1911 births\nPeople from Chipping Barnet\nRoyal Air Force airmen\nRoyal Air Force personnel killed in World War II" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period.", "What kind of freelance work did he do?", "Notable examples of his work are Jessie Hill's \"Ooh Poo Pah Doo\" (", "Did he release any songs during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s", "What kind of hits did he produce?", "\"A Certain Girl", "What was he most successful at during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe," ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	Did he work with any other famous artists?	8	Did Allen Toussaint work with any famous artists other than Ernie K-Doe?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	Art and Aaron Neville, the Showmen, and Lee Dorsey,	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "David Benjamin Tendlar (August 8, 1909 – September 9, 1993) was an American animator, best known for his work with Fleischer Studios and its successor, Famous Studios.\n\nTendlar was born in Dayton, Ohio on August 8, 1909. He joined Fleischer Studio in 1931, where he worked on Betty Boop, Popeye the Sailor, and many other shorts, as well as Fleischer's two feature-length animated films. Tendlar stayed on at Famous Studios after Paramount Pictures foreclosed on Fleischer and reorganized the company into Famous Studios. Tendlar was promoted to director at Famous Studios in 1953 (he also directed a Noveltoon \"A Self-Made Mongrel\" in 1945). He later did work for Terrytoons, Hal Seeger Productions, Filmation and Hanna-Barbera. In addition to his animation work, Tendlar moonlighted as a comic book artist, providing illustrations for Jingle Jangle Comics and Harvey Comics as well as producing promotional comic books. He died in Los Angeles, California on September 9, 1993, at the age of 84.\n\nReferences\n\nExternal links\n \n David Tendlar entry at the Comiclopedia\n\n1909 births\n1993 deaths\nAmerican animators\nAmerican comics artists\nArtists from Dayton, Ohio\nFleischer Studios people\nTerrytoons people\nFilmation people\nHanna-Barbera people\nFamous Studios people", "Zhu Gui (朱圭, 1644–1717) was a wood carver from Qing Dynasty, born in Suzhou, Jiangsu. Zhu is famous for some important works; for example: the Wu Shuang Pu (1694), is a book with pictures of forty heroes, he also made the 46 paintings of \"Tilling and Weaving\" (1696), by order of Emperor Kangxi. And furthermore he made the 146 pictures in the \"Book of the ceremony of longevity\" (1717), this original 1717 version of the longevity ceremony is stored in the Palace Museum in the Forbidden City in Beijing in China.\n\nWork \n Portraits of 24 officials in the Lingyan Pavilion is a book with pictures made in 1668.\n Wu Shuang Pu is a book from 1694 with pictures and poems of 40 peerless Chinese heroes from the Han dynasty to the Song dynasty These pictures are still used on porcelain.\n In the period from 1696 till 1713 Zhu Gui worked for the Emperor. Like other emperors, Emperor Kangxi ordered works depicting \"Tilling and Weaving\", 23 of tilling and 23 of weaving. Zhu Gui did the engraving together with Mei Yufeng (梅裕鳳), Jiao Bingzhen did the painting. These pictures are still used on porcelain.\n In 1712 Zhu Gui worked together with Mei Yufeng making 36 pictures of the summer palace.\n \"Book with pictures of the ceremony of longevity\" is a series of 146 running pictures with a total length of about 50 meters, this book is made in 1717 and Zhu Gui did the engraving. This book is part of the Siku Quanshu.\n\nExternal links\n Zhu Gui on the site of Baidu Baike\n\nReferences \n\nArtists from Suzhou\n1640s births\n1717 deaths\n17th-century Chinese artists\n18th-century Chinese artists\nWoodcarvers" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period.", "What kind of freelance work did he do?", "Notable examples of his work are Jessie Hill's \"Ooh Poo Pah Doo\" (", "Did he release any songs during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s", "What kind of hits did he produce?", "\"A Certain Girl", "What was he most successful at during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe,", "Did he work with any other famous artists?", "Art and Aaron Neville, the Showmen, and Lee Dorsey," ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	How long was his relationship with Minit and Instant Records?	9	How long was Allen Toussaint's relationship with Minit and Instant Records?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	CANNOTANSWER	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	false	[ "Minit Records was an American independent record label, originally based in New Orleans and founded by Joe Banashak in 1959. Ernie K. Doe, Aaron Neville, Irma Thomas, and Benny Spellman were early artists on the label. Later artists included Bobby Womack and Ike & Tina Turner.\n\nHistory\nAllen Toussaint was responsible for much of the label's early success, he wrote, produced, arranged and played piano on a number of tracks. The label's first hit was Toussaint's production of \"Ooh Poo Pah Doo - Part 2\" by Jessie Hill in 1960. After making a distribution deal with Imperial Records, the label released its biggest hit, \"Mother-in Law\" by Ernie K-Doe reached the top of the Billboard Hot 100 and the R&B singles chart in 1961.\n\nWhen Allen Toussaint was drafted into the Army in 1963, the hits dried up and the label was sold to Imperial. Banashak also owned Instant Records, which he kept. Minit was acquired by Liberty Records in 1963 as part of its acquisition of Imperial Records. In 1968, Liberty was bought by Transamerica Corporation and combined with United Artists Records. Two years later Imperial and Minit were shut down and transferred to Liberty. In 1971, Liberty and its remaining labels (except for Soul City, whose catalog was sold to Bell Records) were absorbed into United Artists. In 1979, EMI purchased United Artists. The Minit catalog is currently owned by UMG, successor-in-interest to previous owner EMI.\n\nLabel variations\n1961-1963: (catalog #s MR-601-626) Orange with black print and disclaimer indicating \"C/O Imperial Records, Hollywood, Calif. Later pressings of some records in this period are on the second label.\"\n1961-1963 (catalog #s 626-666): Black label with multi-color logo centered at top reading \"MINIT RECORDS\" with clock inside lettering; in middle of label, magenta bars contain publishing information and track time (left), catalog number and performance type (right). Silver print for all other text, including disclaimer at bottom which reads \"PRODUCED AND MANUFACTURED BY IMPERIAL RECORDS INC. HOLLYWOOD 28, CALIFORNIA, U.S.A.\"\n1964-1968: (new series, catalog #s 32000-32076) Black label with silver print, multi-color logo on left side with \"MINIT\" inside the logo and \"A PRODUCT OF LIBERTY RECORDS\" under MINIT. Disclaimer at bottom of label reads \"A DIVISION OF LIBERTY RECORDS.\"\n1969-1970: (catalog #s 32077-32088) Same as black label mentioned above but with the \"PRODUCT\" disclaimer removed under \"MINIT\" inside the logo. Disclaimer at bottom of label now reads \"LIBERTY/UA, INC.\"\n\nSelected discography\n\nAlbums\n\nSingles\n\nSee also\n List of record labels\n\nReferences\n\nDefunct record labels of the United States\nRecord labels established in 1959\nRecord labels disestablished in 1970", "Jimmy Holiday (July 24, 1934 – February 15, 1987) was an American R&B singer and songwriter.\n\nHoliday was born in Sallis, Mississippi, United States. He recorded for Everest Records in the 1960s and later moved to the New Orleans label Minit Records. His first recording \"How Can I Forget\" reached the top ten on the US Billboard R&B chart in 1963. His debut album Turning Point peaked at No. 25 on the Billboard R&B albums chart in 1966.\n\nHoliday's best-known composition is \"Put a Little Love in Your Heart,\" co-written with Jackie DeShannon and Randy Myers. In the United States, it was DeShannon's highest-charting hit, reaching No. 4 on the Billboard Hot 100 in August 1969 and No. 2 on the Adult Contemporary chart. In late 1969, the song reached No. 1 on South Africa's hit parade.\n \nHoliday died in 1987 in Iowa City of heart failure.\n\nDiscography\n\nAlbums \n 1966: Turning Point (Minit Records)\n 1970: Spread Your Love (Minit Records)\n 1975: United Artists Music Publishing Group Present Songs of Jackie DeShannon, Jimmy Holiday, Eddie Reeves (United Artists Records)\n\nSingles\n\nNotable compositions \n\"Put a Little Love in Your Heart\" (Jackie DeShannon, 1969)\n\"All I Ever Need Is You\" (Ray Charles, 1971)\n\nReferences \n\n1934 births\n1987 deaths\nPeople from Attala County, Mississippi\nAmerican rhythm and blues singer-songwriters\n20th-century American singers\nSinger-songwriters from Mississippi\nMinit Records artists" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period.", "What kind of freelance work did he do?", "Notable examples of his work are Jessie Hill's \"Ooh Poo Pah Doo\" (", "Did he release any songs during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s", "What kind of hits did he produce?", "\"A Certain Girl", "What was he most successful at during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe,", "Did he work with any other famous artists?", "Art and Aaron Neville, the Showmen, and Lee Dorsey,", "How long was his relationship with Minit and Instant Records?", "I don't know." ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	What are some of his other works?	10	What are some of Allen Toussaint's other works besides A Certain Girl?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	I Like It Like That	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "is a collection of Masamune Shirow's full color works. The volume itself is 148 210 mm x 285 mm pages. It encompasses 226 illustrations from 1981 to 1991, 193 of which are in full color. It is a wide ranging collection, as one might expect from a work surveying 10 years of a professional artist’s life. The foreword written by Masamune Shirow indicates that only a small sample of works is not represented, some works done for fanzines, or sent off to other individuals, and 34 color pages were left out from Ghost in the Shell because he felt that might devalue that work. Everything from Appleseed to Orion are well represented in Intron Depot 1, some pictures are reproductions of paintings, others book covers, manga pages, or drafts. One feature of Intron Depot 1 is that all of the works are presented with a small aside from Shirow as to his thoughts on them. Another is that he includes a number of what he considers to be his mistakes, and is generally very critical of his work over all.\n\nThe commentary itself is somewhat whimsical in tone. It might present some seed of inspiration for an image, critique, or ponder the functionality of a pictured object, or provide some perspective on technique, story, or history associated with the work.\n\nIntron Depot 1 in two spots in particular is quite graphic. One panel involves a graphic drawing of a lesbian ménage à trois, and another significant gore. On balance it is a collection of guns, swords, girls, gadgets, cyborgs, and mecha.\n\nChapters\nPoster (3)\nContents (2)\nAppleseed (43)\nBlack Magic (10)\nBlack Magic M-66 (10)\nGame & Etc. (15)\nGhost in the Shell (39)\nDominion (19)\nCover & Etc. (34)\nOrion (17)\nMonochrome (14)\n\nExternal links\n Dark Horse Comics\n\nMasamune Shirow", "Henmaru Machino (町野変丸 Machino Henmaru, sometimes given as 'Hanmaru', born 1969, Aomori Prefecture) is a Japanese artist, described as the Magritte of the eromanga world, whose works prominently feature themes of bestiality, dysmorphia, hermaphrodism, and body transformation, as well as dozens of other sexual paraphilia. Most of his work has emerged within a paradigm of hentai manga and images, but some has appeared in galleries; several of his pieces were part of Takashi Murakami's traveling Superflat exhibition.\n\nMachino started his career through submitting illustration work to the hentai magazine Manga Hot Milk.\n\nWhile Machino's work defies any easy categorization, it could be said to fall within the Japanese EroGuro (Erotic Grotesque) school, still somewhat loosely defined, which dates back to Dada-influenced, Showa-era Decadence. Some assert that it is pornography of the most extreme variety, and nothing more. While porn-or-art debates have been occurring around a wide variety of works for centuries across the globe, the debates surrounding Machino are unique in that his subject matter is at the far fringes of human sexual experience, and even beyond it, in that much of what he draws could never occur in the real world. While many EroGuro artists create works that could have real-world analogues (S&M, mutilation, etc.), Machino's images of, for example, girls with dozens of phalli sprouting from each of the dozens of breasts that cover their body, are not something any viewer of his work could ever see in life, and thus the issue of \"what is pornography?\" strongly preempts the issue of \"art or pornography?\" in some of his work.\n\nPartial list of works\n\n - Mediax/MD Comics, 1994.\n SM Chokyoshi Hitomi - Unlicensed game for Super Famicom.\n - Issui Sha/Izumi Comics, 1994.\n - East Press, 1996.\n Hōtō ni Atta Eroi Hanashi - Sanwa Shuppan, 1996.\n - Ohta Shuppan/Ohta Comics, 1996.\n - Issui Sha/Izumi Comics, 1997\n - Issui Sha/Izumi Comics, 1998.\n - Ohta Shuppan/Ohta Comics, 1998.\n - Kubo Shoten/World Comics, 1998.\n - Sanwa Shuppan, 1998.\n Nuruemon - Issui Sha/Izumi Comics, 1998.\n Kenzen Hentai Shōjo - Kubo Shoten/World Comics Special, 2002.\n - Sanwa Shuppan, 1997\n - East Press, 1999\n - Issui Sha/Izumi Comics, 199?\n\nReferences\n\nExternal links \n Machino works list (Japanese)\n\nLiving people\nManga artists\nMachino Henmaru\nMachino Henmaru\nEro guro" ]
[ "Allen Toussaint", "Minit and Instant Records", "What was his relationship with Minit and Instant Records", "hired Toussaint as an A&R man and record producer. He also did freelance work for other labels,", "What year was he hired?", "1960,", "Are there any other interesting aspects about this article?", "The early to mid-1960s are regarded as Toussaint's most creatively successful period.", "What kind of freelance work did he do?", "Notable examples of his work are Jessie Hill's \"Ooh Poo Pah Doo\" (", "Did he release any songs during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s", "What kind of hits did he produce?", "\"A Certain Girl", "What was he most successful at during this time?", "Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe,", "Did he work with any other famous artists?", "Art and Aaron Neville, the Showmen, and Lee Dorsey,", "How long was his relationship with Minit and Instant Records?", "I don't know.", "What are some of his other works?", "I Like It Like That" ]	C_eea8bfd091d244fa840b0d0984a4b12a_0	When was that released?	11	When was the Allen Toussaint song ILikeItLIkeThat released?	Allen Toussaint	In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He also did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, the Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by the O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including the Rolling Stones, the Nashville Teens, the Who, the Hollies, the Throb, and ex-Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by the Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by the Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, and "Work, Work, Work", recorded by the Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. CANNOTANSWER	1963,	Allen Richard Toussaint (; January 14, 1938 – November 10, 2015) was an American musician, songwriter, arranger and record producer, who was an influential figure in New Orleans rhythm and blues from the 1950s to the end of the century, described as "one of popular music's great backroom figures". Many musicians recorded Toussaint's compositions, including "Whipped Cream", "Java", "Mother-in-Law", "I Like It Like That", "Fortune Teller", "Ride Your Pony", "Get Out of My Life, Woman", "Working in the Coal Mine", "Everything I Do Gonna Be Funky", "Freedom For the Stallion", "Here Come the Girls", "Yes We Can Can", "Play Something Sweet", and "Southern Nights". He was a producer for hundreds of recordings, among the best known of which are "Right Place, Wrong Time", by his longtime friend Dr. John, and "Lady Marmalade" by Labelle. Biography Early life and career The youngest of three children, Toussaint was born in 1938 in New Orleans and grew up in a shotgun house in the Gert Town neighborhood, where his mother, Naomi Neville (whose name he later adopted pseudonymously for some of his works), welcomed and fed all manner of musicians as they practiced and recorded with her son. His father, Clarence, worked on the railway and played trumpet. Allen Toussaint learned piano as a child and took informal music lessons from an elderly neighbor, Ernest Pinn. In his teens he played in a band, the Flamingos, with the guitarist Snooks Eaglin, before dropping out of school. A significant early influence on Toussaint was the syncopated "second-line" piano style of Professor Longhair. After a lucky break at age 17, in which he stood in for Huey "Piano" Smith at a performance with Earl King's band in Prichard, Alabama, Toussaint was introduced to a group of local musicians led by Dave Bartholomew, who performed regularly at the Dew Drop Inn, a nightclub on Lasalle Street in Uptown New Orleans. His first recording was in 1957 as a stand-in for Fats Domino on Domino's record "I Want You to Know", on which Toussaint played piano and Domino overdubbed his vocals. His first success as a producer came in 1957 with Lee Allen's "Walking with Mr. Lee". He began performing regularly in Bartholomew's band, and he recorded with Fats Domino, Smiley Lewis, Lee Allen and other leading New Orleans performers. After being spotted as a sideman by the A&R man Danny Kessler, he initially recorded for RCA Records as Al Tousan. In early 1958 he recorded an album of instrumentals, The Wild Sound of New Orleans, with a band including Alvin "Red" Tyler (baritone sax), either Nat Perrilliat or Lee Allen (tenor sax), either Justin Adams or Roy Montrell (guitar), Frank Fields (bass), and Charles "Hungry" Williams (drums). The recordings included Toussaint and Tyler's composition "Java", which first charted for Floyd Cramer in 1962 and became a number 4 pop hit for Al Hirt (also on RCA) in 1964. Toussaint recorded and co-wrote songs with Allen Orange in the early 1960s. Success in the 1960s Minit and Instant Records In 1960, Joe Banashak, of Minit Records and later Instant Records, hired Toussaint as an A&R man and record producer. He did freelance work for other labels, such as Fury. Toussaint played piano, wrote, arranged and produced a string of hits in the early and mid-1960s for New Orleans R&B artists such as Ernie K-Doe, Chris Kenner, Irma Thomas (including "It's Raining"), Art and Aaron Neville, The Showmen, and Lee Dorsey, whose first hit "Ya Ya" he produced in 1961. The early to mid-1960s are regarded as Toussaint's most creatively successful period. Notable examples of his work are Jessie Hill's "Ooh Poo Pah Doo" (written by Hill and arranged and produced by Toussaint), Ernie K-Doe's "Mother-in-Law", and Chris Kenner's "I Like It Like That". A two-sided 1962 hit by Benny Spellman comprised "Lipstick Traces (on a Cigarette)" (covered by The O'Jays, Ringo Starr, and Alex Chilton) and the simple but effective "Fortune Teller" (covered by various 1960s rock groups, including The Rolling Stones, The Nashville Teens, The Who, The Hollies, The Throb, and ex-The Searchers founder Tony Jackson). "Ruler of My Heart", written under his pseudonym Naomi Neville, first recorded by Irma Thomas for the Minit label in 1963, was adapted by Otis Redding under the title "Pain in My Heart" later that year, prompting Toussaint to file a lawsuit against Redding and his record company, Stax (the claim was settled out of court, with Stax agreeing to credit Naomi Neville as the songwriter). Redding's version of the song was also recorded by The Rolling Stones on their second album. In 1964, "A Certain Girl" (originally by Ernie K-Doe) was the B-side of the first single release by The Yardbirds. The song was released again in 1980 by Warren Zevon, as the single from the album Bad Luck Streak in Dancing School it reached 57 on Billboard's Hot 100. Mary Weiss, former lead singer of The Shangri-Las, released it as "A Certain Guy" in 2007. Linda Ronstadt released a jazzy version of "Ruler of my Heart" in 1998 on We Ran. Toussaint credited about twenty songs to his parents, Clarence and Naomi, sometimes using the pseudonym "Naomi Neville". These include "Fortune Teller", first recorded by Benny Spellman in 1961, "Pain In My Heart," first a hit for Otis Redding in 1963, and "Work, Work, Work", recorded by The Artwoods in 1966. Alison Krauss and Robert Plant covered "Fortune Teller" on their 2007 album Raising Sand. Sansu: Soul and early New Orleans funk Toussaint was drafted into the United States Army in 1963 but continued to record when on leave. After his discharge in 1965, he joined forces with Marshall Sehorn to form Sansu Enterprises, which included a record label, Sansu, variously known as Tou-Sea, Deesu, or Kansu, and recorded Lee Dorsey, Chris Kenner, Betty Harris, and others. Dorsey had hits with several of Toussaint's songs, including "Ride Your Pony" (1965), "Working in the Coal Mine" (1966), and "Holy Cow" (1966). The core players of the rhythm section used on many of the Sansu recordings from the mid- to late 1960s, Art Neville and the Sounds, consisted of Art Neville on keyboards, Leo Nocentelli on guitar, George Porter Jr on bass, and Zigaboo Modeliste on drums. They later became known as The Meters. Their backing can be heard in songs such as Dorsey's "Ride Your Pony" and "Working in the Coal Mine", sometimes augmented by horns, which were usually arranged by Toussaint. The Toussaint-produced records of these years backed by the members of the Meters, with their increasing use of syncopation and electric instrumentation, built on the influences of Professor Longhair and others before them, but updated these strands, effectively paving the way for the development of a modern New Orleans funk sound. 1970s to 1990s Toussaint continued to produce The Meters when they began releasing records under their own name in 1969. As part of a process begun at Sansu and reaching fruition in the 1970s, he developed a funkier sound, writing and producing for a host of artists, such as Dr. John (backed by the Meters, on the 1973 album In the Right Place, which contained the hit "Right Place, Wrong Time") and an album by The Wild Tchoupitoulas, a New Orleans Mardi Gras Indians tribe led by "Big Chief Jolly" (George Landry) (backed by the Meters and several of his nephews, including Art and Cyril Neville of the Meters and their brothers Charles and Aaron, who later performed and recorded as The Neville Brothers). In the 1970s, Toussaint began to work with artists from beyond New Orleans artists, such as B. J. Thomas, Robert Palmer, Willy DeVille, Sandy Denny, Elkie Brooks, Solomon Burke, Scottish soul singer Frankie Miller (High Life), and southern rocker Mylon LeFevre. He arranged horn music for The Band's albums Cahoots (1971) and Rock of Ages (1972), as well as for the documentary film The Last Waltz (1978). Boz Scaggs recorded Toussaint's "What Do You Want the Girl to Do?" on his 1976 album Silk Degrees, which reached number 2 on the U.S. pop albums chart. The song was also recorded by Bonnie Raitt for her 1975 album Home Plate and by Geoff Muldaur (1976), Lowell George (1979), Vince Gill (1993), and Elvis Costello (2005). In 1976 he collaborated with John Mayall on the album Notice to Appear. In 1973 Toussaint and Sehorn created the Sea-Saint recording studio in the Gentilly section of eastern New Orleans. Toussaint began recording under his own name, contributing vocals as well as piano. His solo career peaked in the mid-1970s with the albums From a Whisper to a Scream and Southern Nights. During this time he teamed with Labelle and produced their acclaimed 1975 album Nightbirds, which contained the number one hit "Lady Marmalade". The same year, Toussaint collaborated with Paul McCartney and Wings for their hit album Venus and Mars and played on the song "Rock Show". In 1973, his "Yes We Can Can" was covered by The Pointer Sisters for their self-titled debut album; released as a single, it became both a pop and R&B hit and served as the group's introduction to popular culture. Two years later, Glen Campbell covered Toussaint's "Southern Nights" and carried the song to number one on the pop, country and adult contemporary charts. In 1987, he was the musical director of an off-Broadway show, Staggerlee, which ran for 150 performances. Like many of his contemporaries, Toussaint found that interest in his compositions was rekindled when his work began to be sampled by hip hop artists in the 1980s and 1990s. 2000s Most of Toussaint's possessions, including his home and recording studio, Sea-Saint Studios, were lost during Hurricane Katrina in 2005. He initially sought shelter at the Astor Crowne Plaza Hotel on Canal Street. Following the hurricane, whose aftermath left most of the city flooded, he left New Orleans for Baton Rouge, Louisiana, and for several years settled in New York City. His first television appearance after the hurricane was on the September 7, 2005, episode of the Late Show with David Letterman, sitting in with Paul Shaffer and his CBS Orchestra. Toussaint performed regularly at Joe's Pub in New York City through 2009. He eventually returned to New Orleans and lived there for the rest of his life. Toussaint is interviewed on screen, served as a musical director, led his band and appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz. In the film, he performed a medley of his compositions "Fortune Teller", "Working in the Coal Mine" and "A Certain Girl". He also performed "Tipitina" in a piano duo with Jon Cleary, and accompanied Irma Thomas on "Old Records", Lloyd Price on "Lawdy Miss Clawdy", and Bonnie Raitt on "What is Success". The River in Reverse, Toussaint's collaborative album with Elvis Costello, was released on May 29, 2006, in the UK on Verve Records by Universal Classics and Jazz UCJ. It was recorded in Hollywood and at the Piety Street Studio in the Bywater section Toussaint's native New Orleans, as the first major studio session to take place after Hurricane Katrina. In 2007, Toussaint performed a duet with Paul McCartney of a song by New Orleans musician and resident Fats Domino, "I Want to Walk You Home", as their contribution to Goin' Home: A Tribute to Fats Domino (Vanguard Records). In 2008, Toussaint's song "Sweet Touch of Love" was used in a deodorant commercial for the Axe (Lynx) brand. The commercial won a Gold Lion at the 2008 Cannes Lions International Advertising Festival. In February 2008, Toussaint appeared on Le Show, the Harry Shearer show broadcast on KCRW. He appeared in London in August 2008, where he performed at the Roundhouse. In October 2008 he performed at Festival New Orleans at The O2 alongside acts such as Dr. John and Buckwheat Zydeco. Sponsored by Quint Davis of the New Orleans Jazz & Heritage Festival and Philip Anschutz, the event was intended to promote New Orleans music and culture and to revive the once lucrative tourist trade that had been almost completely lost following the flooding that came with Hurricane Katrina. After his second performance at the festival, Toussaint appeared alongside Louisiana Lieutenant Governor Mitch Landrieu. Toussaint performed instrumentals from his album The Bright Mississippi and many of his older songs for a taping of the PBS series Austin City Limits, which aired on January 9, 2015. In December 2009, he was featured on Elvis Costello's Spectacle program on the Sundance Channel, singing "A Certain Girl". Toussaint appeared on Eric Clapton's 2010 album, Clapton, in two Fats Waller covers, "My Very Good Friend the Milkman" and "When Somebody Thinks You're Wonderful". His late-blooming career as a performer began when he accepted an offer to play a regular Sunday brunch session at an East Village pub. Interviewed in 2014 by The Guardians Richard Williams, Toussaint said, "I never thought of myself as a performer.... My comfort zone is behind the scenes." In 2013 he collaborated on a ballet with the choreographer Twyla Tharp. Toussaint was a musical mentor to Swedish-born New Orleans songwriter and performer Theresa Andersson. Honors Toussaint was inducted into the Rock and Roll Hall of Fame in 1998, the Louisiana Music Hall of Fame in 2009, the Songwriter's Hall of Fame and the Blues Hall of Fame in 2011. In 2013 he was awarded the National Medal of Arts by President Barack Obama. In 2016, he posthumously won the Pinetop Perkins Piano Player title at the Blues Music Awards. Death Toussaint died in the early hours of November 10, 2015, in Madrid, Spain, while on tour. Following a concert at the Teatro Lara on Calle Corredera Baja de San Pablo, he had a heart attack at his hotel and was pronounced dead on his arrival at hospital. He was 77. He had been due to perform a sold-out concert at the EFG London Jazz Festival at The Barbican on November 15 with his band and Theo Croker. He was also scheduled to play with Paul Simon at a benefit concert in New Orleans on 8 December. His final recording, American Tunes, titled after the Paul Simon song, which he sings on the album, was released by Nonesuch Records on June 10, 2016. Toussaint's one marriage ended in divorce. He was survived by his three children, Clarence (better known as Reginald), Naomi, and Alison, and several grandchildren. His children had managed his career in his last years. Writing in The New York Times, Ben Sisario quoted Quint Davis, producer of the New Orleans Jazz and Heritage Festival: "In the pantheon of New Orleans music people, from Jelly Roll Morton to Mahalia Jackson to Fats—that's the place where Allen Toussaint is in". Paul Simon said, "We were friends and colleagues for almost 40 years.... We played together at the New Orleans jazz festival. We played the benefits for Katrina relief. We were about to perform together on December 8. I was just beginning to think about it; now I'll have to think about his memorial. I am so sad." The Daily Telegraph described Toussaint as "a master of New Orleans soul and R&B, and one of America's most successful songwriters and producers", adding that "self-effacing Toussaint played a crucial role in countless classic songs popularised by other artists". He had written so many songs, over more than five decades, that he admitted to forgetting quite a few. Discography The Wild Sound of New Orleans (1958) Toussaint (1971, aka From A Whisper To A Scream) Life, Love and Faith (1972) Southern Nights (1975) Motion (1978) I Love A Carnival Ball, Mr Mardi Gras Starring Allen Toussaint (1987) Connected (1996) A New Orleans Christmas (1997) Allen Toussaint's Jazzity Project: Going Places (2004) The Bright Mississippi (2009) American Tunes (2016) References External links Allen Toussaint profile, NPR.org; accessed October 5, 2014. Allen Toussaint profile, discogs.com; accessed October 5, 2014. [ Allen Toussaint profile], allmusic.com; accessed October 5, 2014. Allen Toussaint NYNO Records profile, nynorecords.com; accessed October 5, 2014. List of chart records written by Toussaint, MusicVF.com, accessed November 11, 2015 Allen Toussaint profile, preshallben.tumblr.com, October 5, 2014. Allen Toussaint speaks about songwriting and creating music NAMM Oral History Interview (2015) A Conversation with Allen Toussaint (interviewer: Larry Appelbaum), November 1, 2007; from The Library of Congress (Video, Captions, Transcript) 1938 births 2015 deaths Rhythm and blues musicians from New Orleans African-American pianists American people of French descent American jazz pianists Record producers from Louisiana American soul musicians Bell Records artists Nonesuch Records artists Reprise Records artists Songwriters from Louisiana American rhythm and blues keyboardists American blues pianists American male pianists United States National Medal of Arts recipients 20th-century American pianists 21st-century American pianists Jazz musicians from New Orleans 20th-century American male musicians 21st-century American male musicians American male jazz musicians African-American songwriters 20th-century African-American musicians 21st-century African-American musicians American male songwriters	true	[ "When the Bough Breaks is the second solo album from Black Sabbath drummer Bill Ward. It was originally released on April 27, 1997, on Cleopatra Records.\n\nTrack listing\n\"Hate\" – 5:00\n\"Children Killing Children\" – 3:51\n\"Growth\" – 5:45\n\"When I was a Child\" – 4:54\n\"Please Help Mommy (She's a Junkie)\" – 6:40\n\"Shine\" – 5:06\n\"Step Lightly (On the Grass)\" – 5:59\n\"Love & Innocence\" – 1:00\n\"Animals\" – 6:32\n\"Nighthawks Stars & Pines\" – 6:45\n\"Try Life\" – 5:35\n\"When the Bough Breaks\" – 9:45\n\nCD Cleopatra CL9981 (US 1997)\n\nMusicians\n\nBill Ward - vocals, lyrics, musical arrangements\nKeith Lynch - guitars\nPaul Ill - bass, double bass, synthesizer, tape loops\nRonnie Ciago - drums\n\nCover art and reprint issues\n\nAs originally released, this album featured cover art that had two roses on it. After it was released, Bill Ward (as with Ward One, his first solo album) stated on his website that the released cover art was not the correct one that was intended to be released. Additionally, the liner notes for the original printing had lyrics that were so small, most people needed a magnifying glass to read them. This was eventually corrected in 2000 when the version of the album with Bill on the cover from the 70's was released. The album was later on released in a special digipak style of case, but this was later said to be released prematurely, and was withdrawn.\n\nReferences\n\nExternal links\nWhen the Bough Breaks at Bill Ward's site\nWhen the Bough Breaks at Black Sabbath Online\n\nBill Ward (musician) albums\nBlack Sabbath\n1997 albums\nCleopatra Records albums", "The Rehab is the fourth independent album by rapper Young Buck. It was released on September 7, 2010. A remix version was released in 2019.\n\nBackground\nOriginally intended to be his third studio album, its release was promised since early 2008, but was repeatedly pushed back due to Young Buck's problems with G-Unit and 50 Cent. At one point, Buck made an exaggerated claim when he said that The Rehab will sell a million copies in his first week to buy himself out of his contract with G-Unit Records. The track \"Hood Documentary\" is a diss track directed at 50 Cent. The announcement came amidst rumors that 50 Cent had finally released Buck from his G-Unit contract.\nOn September 13, 2010 an interview with Shade 45 radio host Angela Yee, 50 Cent stated that Young Buck is still signed to G-Unit Records.\n\nCommercial performance\nThe Rehab debuted at number 55 on the U.S. Billboard 200 chart, selling over 6,400 units in its first week.\n\nSingles\n\"When the Rain Stops\" became the first single when it was released to iTunes on May 18, 2010. \"Ya Betta Know It\" became the second single when it was released on iTunes on June 8, 2010. \"Hood Documentary\" is the third and final single. A music video was released for the single \"When the Rain Stops\".\n\nTrack listing\n\nReferences\n\nExternal links \n \n\n2010 albums\nAlbums produced by Cozmo\nAlbums produced by Big Hollis\nReal Talk Entertainment albums\nYoung Buck albums" ]
[ "Jessica Mauboy", "2013-14: Beautiful, Eurovision, and iTunes Session EP" ]	C_a8241246e91444b29e1e042142685892_0	Was "Beautiful" a song or an album?	1	Was "Beautiful" by Jessica Mauboy, a song or an album?	Jessica Mauboy	Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca" with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". CANNOTANSWER	third studio album Beautiful	Jessica Hilda Mauboy (born 4 August 1989) is an Australian singer. Born and raised in Darwin, Northern Territory, she rose to fame in 2006 on the fourth season of Australian Idol, where she was runner-up and subsequently signed a recording contract with Sony Music Australia. After releasing a live album of her Idol performances and briefly being a member of the girl group Young Divas in 2007, Mauboy released her debut studio album, Been Waiting, the following year. It included her first number-one single, "Burn", and became the second highest-selling Australian album of 2009, certified double platinum by the Australian Recording Industry Association (ARIA). Her second studio album, Get 'Em Girls (2010), showcased a harder-edged R&B sound, and produced four platinum singles. Her third studio album, Beautiful (2013), a mixture of dance-oriented tracks, R&B and pop, included the top-ten hits "Pop a Bottle (Fill Me Up)", "Never Be the Same" and "Can I Get a Moment?". Aside from her music career, Mauboy has ventured into acting, with starring roles in the films Bran Nue Dae (2010), and The Sapphires (2012), which earned her the AACTA Award for Best Actress in a Supporting Role. She returned to acting in 2016 in the lead role in the television drama series The Secret Daughter for two seasons. It was her first major TV role and was written especially for her. She released two soundtrack albums from the show, the first of which made her the first Indigenous artist with a number-one album on the ARIA Albums Chart. Her fourth studio album, Hilda (October 2019), debuted at number one. Mauboy is one of Australia's most successful female artists. She has achieved six top-ten albums (including two number-ones) and 16 top-twenty singles (including 9 top-ten hits). She has won two ARIA Music Awards from 25 nominations, and was ranked sixteenth on the Herald Suns list of the "100 Greatest Australian Singers of All Time". She has collaborated with international artists such as Flo Rida, Snoop Dogg, Ludacris, Jay Sean, and Pitbull. She has also toured with Beyoncé and Chris Brown, and performed at many notable events, including the Australian visits for Oprah Winfrey, Ellen DeGeneres, and US President Barack Obama. She was a guest performer at the second semifinal of the Eurovision Song Contest in 2014. She competed for Australia at the 2018 Eurovision Song Contest and reached 20th place. Early life Mauboy was born 4 August 1989 and raised in Darwin, Northern Territory. Her father, Ferdy, is an Indonesian-born electrician from West Timor. Her mother, Therese, is an Indigenous Australian from the Kuku Yalanji people of the rainforest regions of Far North Queensland. Mauboy has three older sisters, Sandra, Jenny and Catherine; and a younger sister, Sophia. From an early age, she was involved in the local church choir with her grandmother Harriett. Her home was described as the "noisiest house on the block", with her mother often singing, her father playing guitar and the rest of the family displaying their passion for music. She attended Wulagi Primary School and Sanderson High School in Darwin. She dropped out of school in year 11. At age fourteen, Mauboy's talents were exposed through the Telstra Road to Tamworth competition at the 2004 Tamworth Country Music Festival in Tamworth, New South Wales. As the first winner of the competition, she travelled to Sydney to perform and scored a recording deal with Sony Music Australia. She released a country-inspired rendition of the Cyndi Lauper hit "Girls Just Wanna Have Fun". A video of the song was produced and released, but the song was unsuccessful and Mauboy returned to Darwin. Music career 2006: Australian Idol In 2006, Mauboy auditioned for the fourth season of Australian Idol in Alice Springs, Northern Territory, singing Whitney Houston's "I Have Nothing". Her audition impressed all three judges, and she progressed to the semifinals, then to the top twelve. The media cited her previous Sony contract as grounds for dismissal, but since it had expired, the producers refused to remove her from the show. In the final eleven week, following her rendition of Kelly Clarkson's "Walk Away", judge Kyle Sandilands commented on Mauboy's weight, and said that if she wanted to succeed in the music industry, she should "lose the jelly belly". Mauboy appeared stunned by the comment. In an interview with Who magazine's Alicia Neil, two years after the comment, Mauboy said, "I kind of took it as a joke... I look back on it as a positive thing–it made me a stronger person." In the final ten-week, Mauboy received the first touchdown of the season from judge Mark Holden for her rendition of Christina Aguilera's hit "Beautiful". During the final nine-week, she had a sore throat that resulted in a mediocre rendition of Phil Collins' "Another Day in Paradise" and near-elimination, landing her in the bottom three. She never landed in the bottom three again, and ended up progressing to the final show with Damien Leith. At the grand finale on 27 November at the Sydney Opera House, Mauboy was voted runner-up to Leith. In December 2006, she signed a recording contract with Sony Music Australia, two weeks after Idol ended. 2007–2009: The Journey, Young Divas and Been Waiting Mauboy released her debut live album The Journey on 24 February 2007, which contained two discs. Disc one contained re-recorded covers of the selected songs Mauboy performed as part of the top twelve on Australian Idol, while disc two included a DVD of her performances on the series. The Journey debuted at number four on the ARIA Albums Chart and was certified gold by the Australian Recording Industry Association for shipments of 35,000 units. In September 2007, Mauboy joined as the new member of the girl group Young Divas, replacing one of the group's original members, Ricki-Lee Coulter, who had left in June to resume her solo career. Their second studio album New Attitude was released on 24 November 2007, and debuted at number 10 and was certified gold. The album was preceded by the lead single "Turn Me Loose", which peaked at number 15 on the ARIA Singles Chart. In March 2008, Mauboy signed on to the Australian Government In2Oz program, designed to promote closer ties with Indonesia. As a part of the program, she travelled to Indonesia for a three-day trip performing around the country, including an appearance on Indonesian Idol. It was during this time that Mauboy had begun to work on her first solo studio album. In August 2008, Mauboy announced that after a year with the Young Divas, she had decided to quit in order to concentrate on her solo career. Founding member Paulini had also decided to depart, leaving Kate DeAraugo and Emily Williams as the only remaining members. However, both DeAraugo and Williams resumed their solo careers, and the group officially disbanded. Mauboy's debut studio album Been Waiting was released on 22 November 2008; it peaked at number 11 and was certified double platinum for shipments of 140,000 units. Mauboy co-wrote eleven of the album's songs, which were produced by Audius Mtawarira, Israel Cruz, Jonas Jeberg, Cutfather, Adam Reily, Fingaz and Kwamé. The album received positive reviews from critics. Davey Boy of Sputnikmusic gave the album three out of five stars and wrote that it was an "impressive debut which suggests that there could indeed be quality music to look forward to in the future, as she matures and gains experience". The lead single "Running Back", featuring American rapper Flo Rida, peaked at number three and was certified double platinum. The second single, "Burn", became Mauboy's first number-one single, and was certified platinum. It also reached number 92 on the Japan Hot 100 and became Mauboy's first single to chart internationally. The album's third single and title track peaked at number 12 and was certified gold. The following singles, "Because" and "Up/Down", peaked at numbers nine and 11, respectively, and both were certified gold. In February 2009, Mauboy signed with UK record label Ministry of Sound. Been Waiting was released in Japan on 22 April 2009, and reached number 138 on the Japanese Albums Chart. At the 2009 Deadly Awards, Mauboy won three awards in the categories of Female Artist of the Year, Album of the Year for Been Waiting, and Single Release of the Year for "Burn". Along with Flo Rida, Mauboy served as a support act for Beyoncé on the Australian leg of her I Am... World Tour in September 2009. At the 2009 ARIA Music Awards, Mauboy earned seven nominations for Been Waiting and its singles; she was nominated for Highest Selling Album, Best Pop Release, Breakthrough Artist Album, Best Female Artist, Breakthrough Artist Single for "Running Back", and Highest Selling Single for "Running Back" and "Burn". Eventually, Mauboy won Highest Selling Single for "Running Back". 2010–2012: Get 'Em Girls and The Sapphires soundtrack In January 2010, Mauboy signed to Universal Music for an exclusive worldwide long-term publishing agreement. In May 2010, Mauboy collaborated with four other international artists representing their continents—Sean Kingston representing America, Jody Williams representing Africa, Tabitha Nauser (Asia), Steve Appleton (Europe), with Mauboy representing Oceania—on the theme song for the 2010 Summer Youth Olympics titled "Everyone". Mauboy, Williams, Nauser and Appleton performed "Everyone" at the opening of the Youth Olympics held in Singapore on 14 August 2010. Kingston was unable to attend the performance, due to a passport mix-up. Mauboy released her second studio album Get 'Em Girls on 5 November 2010; it debuted at number six and was certified gold. She had travelled to the United States in February of that year to work on the album in Los Angeles, New York, and Atlanta with American songwriters and producers, most of whom she had not worked with previously. Mauboy co-wrote eight of the album's songs. Get 'Em Girls received mixed reviews from critics. Majhid Heath of ABC Online Indigenous gave the album two-and-a-half out of five stars, writing that it's a "non-cohesive mess of similar sounding, auto-tuned ravaged pop/R&B that diminishes the talent of this brilliant young songstress". The album's title track, featuring American rapper Snoop Dogg, peaked at number 19. Mauboy performed "Get 'Em Girls" at the 2010 Nickelodeon Australian Kids' Choice Awards, where she co-hosted the award ceremony with Liam Hemsworth and Jerry Trainor, and won the award for Fave Aussie Muso. The following singles, "Saturday Night" featuring American rapper Ludacris and "What Happened to Us" featuring English singer Jay Sean, peaked at numbers seven and 14, respectively. The former single was certified double platinum while the latter was only certified platinum. At the 2010 Australian of the Year Awards, Mauboy received her first nomination for Young Australian of the Year. On 10 December 2010, she performed in front of an audience of 92,000 at the Federation Square in Melbourne, ahead of Oprah Winfrey's visit to the place. Mauboy's performance was shown in the first of the four Australian specials of The Oprah Winfrey Show on 18 January 2011. In April 2011, she served as a support act for Chris Brown's Australian leg of his F.A.M.E. Tour. Get 'Em Girls was re-released as a deluxe edition on 12 August 2011, which included the singles "Inescapable" and "Galaxy" featuring Stan Walker. The former single peaked at number four and was certified double platinum, while the latter peaked at number 13 and was certified platinum. "Galaxy" also reached number 36 on the New Zealand Singles Chart and became Mauboy's first single to chart in that country. On 17 November 2011, Mauboy performed for the Australian troops at RAAF Base Darwin, ahead of US President Barack Obama's visit to the place. In January 2012, Mauboy and Walker embarked on their Galaxy Tour across Australia, which served as her first headlining tour. Mauboy recorded 15 songs for [[The Sapphires (soundtrack)\|''The Sapphires soundtrack album]], which was released on 27 July 2012. The album debuted at number one and was certified platinum. Mauboy released "Gotcha" as the album's lead single, which peaked at number 43 and was certified gold. At the 2012 ARIA Music Awards, she was nominated for Best Female Artist, Best Pop Release for "Gotcha", and Song of the Year for "Galaxy". 2013–2014: Beautiful, Eurovision and iTunes Session EP Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca", with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland, to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". 2015–2018: The Secret Daughter soundtracks and Eurovision Mauboy performed at the ICC Cricket World Cup opening ceremony held on 12 February 2015 at the Sidney Myer Music Bowl in Melbourne. On 3 May 2015, she appeared on the US Today show in a segment that was filmed live at the Sydney Opera House with host Savannah Guthrie. In an interview with the Australian Associated Press that same month, Mauboy revealed that she had already begun writing songs for her upcoming fourth studio album. She said, "This time around with the album I would like to...just take risks in terms of the sound and identifying who I am as a woman. It's more of a rhythmic pop so it's not going to be extreme pop. It's going to be a little bit more soul." "This Ain't Love", released in September 2015, was originally intended to be the album's lead single; it peaked at number five and was certified gold. Mauboy along with The Veronicas and Tina Arena performed Arena's 1994 single "Chains" at the 2015 ARIA Music Awards, where Arena was inducted into the ARIA Hall of Fame. Their version was released as a single following the performance, and peaked at number 14. In March 2016, Mauboy released the single "Where I'll Stay", which was used to promote the Seven Network's coverage of the 2016 Rio Olympics. Plans for Mauboy's upcoming fourth studio album were put on hold when she released her first individual soundtrack album, The Secret Daughter: Songs from the Original TV Series, on 14 October 2016. The album featured music used in the television series of the same name, in which Mauboy plays the lead role of Billie Carter. The album included five original songs and twelve cover versions of songs by Cold Chisel, Crowded House, The Clash, Roxette, Ed Sheeran and Alex Lloyd, among others. One of the original tracks, "Risk It", was released as the lead single from the soundtrack album. The Secret Daughter: Songs from the Original TV Series became Mauboy's first individual number-one album and also made her the first Indigenous artist to reach number one on the ARIA Albums Chart. Mauboy embarked on her third headlining tour, All the Hits Live – The Australian Tour, in March and April 2017, where she performed songs from the last 10 years of her career. Mauboy's second individual soundtrack album, The Secret Daughter Season Two: Songs from the Original 7 Series, was released on 6 October 2017. The album included two original songs and sixteen covers of songs by The Church, Crowded House, Thirsty Merc, Paul Kelly, Lighthouse Family and Aretha Franklin, among others. Original track "Fallin'" was released as the album's lead single; it peaked at number 11, became Mauboy's sixteenth top-twenty hit, and was certified platinum. The Secret Daughter Season Two: Songs from the Original 7 Series debuted at number two and became Mauboy's fifth top-ten album. She received six nominations at the 2017 ARIA Music Awards, including Best Female Artist and Best Original Soundtrack, Cast or Show Album for The Secret Daughter, Best Australian Live Act, and Song of the Year, Best Pop Release and Best Video for "Fallin'". On 11 December 2017, Mauboy was announced as the Australian representative for the 2018 Eurovision Song Contest in Portugal; becoming the fourth artist to compete for Australia. In May 2018, Mauboy performed the song "We Got Love" which finished in 20th position in the final. 2019–2020: Hilda and Sony depart On 11 April 2019, Mauboy released her new single "Sunday" from her upcoming fourth studio album, Hilda (October 2019). A video for the song was released on 30 April 2019, directed by Nick Waterman and produced by Jo Austin. The album's second single "Little Things" was released on 21 June along with the pre-order for the album. Hilda debuted at number one on the ARIA Albums Chart. In October 2019 "Little Things" was certified as an ARIA platinum single. The same month, "Selfish" impacted Australian radio as the third official single from Hilda. In December 2020, Mauboy left Sony after fourteen years and signed a new record deal with Warner Music Australia, with new music to be released in 2021. 2021: "Glow" On 12 November 2021, Mauboy released "Glow", the first release on Warner Music Australia. Personal life In late 2008, Mauboy moved from Darwin to Sydney, ahead of the release of her debut studio album Been Waiting. In January 2009, she began a long-distance relationship with Themeli "Magoo" Magripilis, a soccer player and council worker of Greek descent, who was born and raised in Darwin. Alt URL Magripilis played for the Darwin soccer league's club Hellenic Athletic, the same club that Mauboy's younger sister Sophia played for. After seven years of long distance dating, Magripilis relocated from Darwin to Sydney in September 2016 and moved in with Mauboy. When she is not working, Mauboy returns to Darwin to spend time with her family. She is an avid fan of NRL side North Queensland Cowboys. Artistry Music and songwriting Mauboy's music is generally R&B and pop, but she also incorporates dance, funk, soul and hip hop into some of her songs. Mauboy's debut studio album Been Waiting (2008) was described as "a blend of electro beats, heartfelt pop tunes and R&B bass lines." Most of the themes on the album dealt with boys, love and break-ups, everyday life, family issues, and friendship. Alasdair Duncan from Rave magazine described Mauboy's second studio album Get 'Em Girls (2010) as "a more hard-edged take on R&B and pop than her debut, pumped full of hip hop beats, jagged synths and futuristic vocal effects." Mauboy said that she wanted each song on the album to talk about a "woman's needs", and that the album's theme was "very much about the empowerment of women and the domination of women." Kylie Northover of The Sydney Morning Herald noted that Mauboy's third studio album Beautiful (2013) featured "a mix of more dance-oriented tunes and her usual R&B sound". Mauboy has also incorporated her Aboriginal heritage into her music, including songs on the soundtrack album for The Sapphires and in the single "Sea of Flags". Aside from her vocals work, Mauboy can also play the piano and has co-written some of her material. She co-wrote eleven songs on her first studio album, nine on her second studio album, and fourteen on her third studio album. In 2010, Mauboy was nominated for Breakthrough Songwriter of the Year at the APRA Awards. Mauboy stated in an interview that while working with American producer Harvey Mason, Jr., they came up with the melodies and hooks for the songs "Fight for You" and "Here for Me" on the album Get 'Em Girls. She also experimented with an operatic-type voice on her song "Scariest Part". Influences Mauboy grew up listening to country singers Patsy Cline, Dolly Parton and Slim Dusty; she credits country music as her first love of music, saying the genre "is who I really, really am deeply." Mauboy also grew up listening to hip-hop rappers Tupac Shakur, Dr. Dre and Snoop Dogg. Mauboy cites Mariah Carey as her main influence and inspiration, stating that she has "drawn a lot of inspiration from watching and listening to her live performances". She grew up listening to many of Carey's songs and was inspired by her vocal style and songwriting, "I loved 'Dreamlover' and 'Fantasy' – and picked up loads of tips from her style of singing. She taught me that the lyrics you write have to come from personal experiences – I really felt her music. Now I aspire to writing honest lyrics with real feelings that people can relate to." Mauboy also names Whitney Houston as another influence, stating that she looks up to her and Carey "for their outstanding vocal performances". Her other musical influences are John Farnham and Beyoncé. Mauboy is also inspired by fellow Indigenous Australian women such as Olympic gold medalist Cathy Freeman and actress Deborah Mailman. Public image Mauboy is known for her good girl image and is considered a role model to young girls and Indigenous communities in Australia. Ed Gibbs of The Sydney Morning Herald described her as a "wholesome girl-next-door", while Holly Richards of New Idea noted that she "is renowned for her squeaky-clean image and family values." Genevieve Rosen of The Vine wrote that Mauboy's "flawless public image is no farce. Humble, genuinely engaging and passionate about public service, Mauboy, put simply, is really nice." Anna Byrne of the Herald Sun observed, "It's clear this endearing unpretentiousness is not a fame facade. In every respect, the pint-sized pop star embodies one of the most elusive qualities of stardom: relatability. It's this genuineness that has seen her star ascend to where she actually is." Fashion has influenced Mauboy's music career and image. Byrne noted that her "fashion choices have mirrored her rise in fame, with her style evolving from shy schoolgirl to confident diva, set to steal the sartorial spotlight." Mauboy cites Jennifer Lopez as her style icon. She has worn dresses designed by Dolce & Gabbana, J'Aton, Steven Khalil and Toni Matičevski, and has appeared on the covers of fashion magazines in Australia, including Elle, InStyle, and Marie Claire. She has also appeared on the cover of Who magazine's Sexiest People issue twice; first in 2012 and again in 2016. Mauboy's weight has been the subject of media interest, ever since her rise to fame on Australian Idol when judge Kyle Sandilands publicly told her to "lose the jelly belly". Mauboy told Women's Health magazine that she was proud of her curvy figure, saying "having curves is one of my favourite things". In 2014, she received media attention for her weight loss transformation from a size 12 to 8. Mauboy has an alter ego named J Malley, who she described as her "fearless side" and "sort of like Beyoncé's Sasha Fierce". Mauboy is often referred to as Australia's answer to Beyoncé. However, she does not agree with the comparisons, saying "I totally disagree with that one. I've...watched her documentary [Life Is But a Dream] and was just blown away by how magnificent she really is and it's so inspiring for me. I just think she's fantastic and I'm completely nowhere near where she is, but I aspire to that." With the release of Mauboy's second studio album Get 'Em Girls, some critics felt that she was becoming an "R&B sexpot". Both the album and its title track also received negative reviews from critics. The music video for the title track was heavily criticised by fans who felt that Mauboy had become too sexy and moved away from her good girl image. Speaking of Mauboy's image for R&B music, Fairfax Media journalist Bernard Zuel said: "It's a problem, matching the personality to a formula. The formula with young women singing modern R&B is that they have to be out there sexually, thrusting physically and vocally. But that's just not who she is." Following the release of her single "Gotcha" in 2012, Miranda Cashin of Sunshine Coast Daily noted that it was "a return to the Mauboy [we knew] before the infamous 2010 sexed-up fist-pumping album, Get 'Em Girls". Other ventures Acting career In January 2010, Mauboy made her acting debut in the film adaptation of the 1990 Aboriginal musical Bran Nue Dae. The film was directed by Rachel Perkins and also starred Ernie Dingo, Geoffrey Rush, Missy Higgins, and Deborah Mailman. In the film, Mauboy played the role of Rosie, a local church singer who has a love interest for a school boy named Willie (played by Rocky McKenzie). Her performance in the film earned her a nomination for Female Actress of the Year at the 2010 Deadly Awards. In November 2010, Mauboy made a guest appearance in the final episode of the mini-series Underbelly: Razor, and played the role of a nightclub singer named Gloria Starr. In 2012, Mauboy had a lead role in The Sapphires, a film based on the stage show of the same name. It was directed by Wayne Blair and also starred Deborah Mailman, Shari Sebbens, and Miranda Tapsell. Mauboy played the role of Julie McCrae, one of the four Indigenous Australian women who travel to Vietnam to sing for the American troops. Mauboy and the cast attended the film's premiere at the 65th Annual Cannes Film Festival in Cannes, France, on 20 May 2012. Upon its release in the US, Mauboy appeared on The Ellen DeGeneres Show on 18 April 2013. Her performance in The Sapphires earned her the AACTA Award for Best Actress in a Supporting Role and the Australian Film Critics Association Award for Best Supporting Actress. In September 2013, Mauboy made a guest appearance as herself in the third and final season of the teen drama Dance Academy. In 2016, Mauboy was cast in the lead role of the television drama series The Secret Daughter, which premiered on the Seven Network on 3 October. It was Mauboy's first major TV role and was written especially for her. She portrayed the role of Billie Carter, a part-time country pub singer whose life changes after coming in contact with a rich hotelier. The role earned Mauboy her first Logie Award nomination for Best Actress, and the show was renewed for a second and final season in 2017. Mauboy guest starred in the 2016 season finale of Home and Away as herself, where she performed at the Summer Bay Groove Festival. Endorsements In 2007, Mauboy appeared in advertisements for the shampoo product, Head & Shoulders. In April 2009, she teamed up with Bloom Cosmetics to create two designer collection nail polishes, which included shades of sangria red and metallic green. Mauboy became the new face of the video game Nintendogs + Cats 3DS in October 2010, and joined forces with RSPCA and Nintendo to help promote the game. She teamed up with clothing label KuKu in December 2010 to launch her five-dress fashion range, which were made available to buy at Myer stores across Australia. In February 2013, Mauboy was announced as the ambassador for the National Rugby League (NRL) and featured in their television advertising campaign singing her cover version of Etta James' "Something's Got a Hold on Me", the theme song for the 2013 NRL season. The following month, Mauboy became the ambassador of the 2013 Woolworths Earn & Learn program, which enables primary and secondary schools in Australia as well as early learning centres to earn educational resources through the school community shopping at Woolworths. She appeared in two television commercials for the program, featuring students from Wulagi Primary School in Darwin. In 2014, Mauboy became the ambassador for the health and wellness company Swisse and appeared in a television commercial for Telstra's commitment to its customers campaign. In May 2015, she became the new face for Target Australia's Womenswear and represented the brand for a year. Mauboy's first fragrance, Be Beautiful, was released on 30 October 2015. The fragrance was developed by Mauboy in partnership with BrandPoint and was inspired by her hometown of Darwin. In February 2017, Mauboy became the ambassador for Foxtel's new Fox League channel dedicated to screening rugby league, and appeared in a television commercial to help launch the channel. Philanthropy Throughout her career, Mauboy has supported various charities in Australia. She is an ambassador for the Sony Foundation, which raises funds for youth-related causes. As an ambassador for the Foundation, Mauboy has made several hospital visits and performed at many of their annual fundraising events such as Wharf4Ward, which raises funds to build specialised youth cancer centres across Australia. In April 2009, sales from the nail polish bottles Mauboy created with Bloom Cosmetics were donated to Children's Hospital Foundations Australia to support the research into childhood illness. Mauboy has performed at several other fundraising events including charity balls, charity dinners, Christmas carols events, and telethons. For many years, Mauboy has performed at the annual Channel Seven Perth Telethon. In December 2011, she performed free acoustic concerts across Australia as part of the Indian Pacific Outback Christmas train journey, an annual fund-raiser for the Royal Flying Doctor Service. On 14 December 2012, she performed a free pop up show at Federation Square in Melbourne, as part of the Optus Carols for a Cause event, which raised funds for Kids Helpline and The Smith Family. Mauboy headlined the Come Together charity concert in Ulverstone, Tasmania on 19 May 2013, in aid of two boys who were burnt in an explosion. All proceeds from the concert went into a trust fund for the boys' ongoing treatment. Mauboy has also contributed to Indigenous organisations aimed at improving children's education. In 2009, she became a spokesperson for the Indigenous Literacy Project (ILP), which aims to provide "books and learning materials to schools, libraries and women's centres in remote areas." As spokesperson for the charity, Mauboy visited schools across Australia and talked to students about the importance of education. In 2011, she worked with the Yalari organisation "that offers children from regional, rural and remote communities and towns across Australia the opportunity to get a first-class secondary education." In 2013, Mauboy was appointed as the ambassador of the independent Aboriginal Yipirinya School in Alice Springs. Along with making several visits to the school, Mauboy has helped promote the school and assist with its fundraisings. In August 2015, she became an ambassador for the Indigenous Literacy Foundation, which raises support and awareness of literacy in remote indigenous communities. Her songs have been included on charity compilation albums such as Bushfire Aid: Artists for the Bushfire Appeal (2009), Spirit of Christmas (2009), and Flood Relief – Artists for the Flood Appeal (2011). Mauboy along with Guy Sebastian, Sheppard, Jon Stevens, Shannon Noll and Megan Washington were featured on Lee Kernaghan's 2015 charity single "Spirit of the Anzacs", which raised funds for Legacy and Soldier On. Television In December 2020, Mauboy was announced to have joined the judging panel of The Voice Australia for its upcoming tenth season to replace Boy George. Discography Been Waiting (2008) Get 'Em Girls (2010) Beautiful (2013) Hilda (2019) Filmography Film Bran Nue Dae (2010) The Sapphires (2012) Television Australian Idol (2006) The Secret Daughter (2016–17) The Voice Australia (2021–Present) The Voice Generations Australia (2022–Present) Music videos and other videography ToursHeadliningGalaxy Tour (with Stan Walker) (2012) To the End of the Earth Tour (2013–14) All the Hits Live – The Australian Tour (2017)Supporting act''' Beyoncé's I Am... World Tour: Australian leg (2009) Chris Brown's F.A.M.E. Tour: Australian leg (2011) See also List of awards and nominations received by Jessica Mauboy References External links 1989 births 21st-century Australian singers 21st-century Australian women singers Actresses from the Northern Territory APRA Award winners ARIA Award winners Australian child singers Australian contemporary R&B singers Australian women pop singers Australian women singer-songwriters Australian film actresses Australian Idol participants Australian people of Indonesian descent Australian singer-songwriters Best Supporting Actress AACTA Award winners Eurovision Song Contest entrants of 2018 Eurovision Song Contest entrants for Australia Indigenous Australian actresses Indigenous Australian musicians Living people Musicians from the Northern Territory People from Darwin, Northern Territory Sony Music Australia artists Young Divas members	true	[ "Between My Ears There Is Nothing But Music is the fourth studio album by rock band Babybird released in 2006. It was the first album that they recorded after leaving Echo Records in 2000. It was released by Babybird Records.\n\nTrack listing \n \"Too Much\" (3:47)\n \"Dive\" (3:32)\n \"Snails\" (3:12)\n \"Old Skin\" (4:00)\n \"Little Things\" (3:40)\n \"70\" (3:46)\n \"Lighter 'N' Spoon\" (3:21)\n \"Divorce Song\" (3:55)\n \"Shoutabout\" (3:53)\n \"Better Than Love\" (3:23)\n \"Beautiful Place\" (9:19)\n\nNote: The last track is listed as \"Beautiful Place\" on the cover but as \"Lost in a Beautiful Place\" in the lyric booklet that comes with the CD. The song concludes at 5:11. A silence follows until 6:13 when an unlisted song ends the album.\n\nReferences \n\nBabybird albums\n2006 albums", "\"Beautiful\" is a song by American band Ivy from their debut studio album Realistic (1995). A remixed version of the song was issued as a promotional single and distributed as a CD single in 1995 by Seed Records. It features an acoustic version of the trio's single \"Don't Believe a Word\" as a bonus track.\n\nThe track was written by Adam Schlesinger and Andy Chase, while production was handled by them in addition to Kurt Ralske. Critically, \"Beautiful\" was regarded as one of the best tracks on Realistic.\n\nBackground and composition \nIn 1994, Ivy formed in New York City following a meeting between Andy Chase and French-native Dominique Durand. After acquiring musician Adam Schlesinger, they recorded several songs which would later appear on their first extended play (EP), Lately (1994). They also recorded the track \"Get Enough\", which became their debut single and also appeared on their first album. \"Beautiful\" is taken from Realistic, the trio's debut album which was released through Seed Records in 1995. The track was written and produced by Schlesinger and Chase, while production was handled by them in addition to Kurt Ralske. It was recorded in 1994 during sessions for Realistic held at Zabriskie Point recording studios in New York City.\n\nThe official remixed version of \"Beautiful\" was released as a promotional single by Seed Records sometime in 1995. Previously an unreleased version of the song, the remix was distributed on CD singles along with an acoustic version of the album's second single, \"Don't Believe a Word\". At the time of its release, the \"Beautiful\" single was distributed during outings for Ivy's national tour to promote Realistic. During the concerts, they toured with several musicians, including Lloyd Cole and Edwyn Collins.\n\nCritical reception \nIn a retrospective review of Ivy's back catalog, a staff member at the Ectophiles' Guide recommended the song to its readers as one of the best on Realistic, and listed album tracks \"Decay\" and \"Shallow\" as two others.\n\nTrack listing\n\nReferences \n\nWorks cited\n\nIvy (band) songs\n1995 songs\nSongs written by Adam Schlesinger\nSongs written by Andy Chase" ]
[ "Jessica Mauboy", "2013-14: Beautiful, Eurovision, and iTunes Session EP", "Was \"Beautiful\" a song or an album?", "third studio album Beautiful" ]	C_a8241246e91444b29e1e042142685892_0	Was the album a hit?	2	Was the album "Beautiful" by Jessica Mauboy, a hit?	Jessica Mauboy	Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca" with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". CANNOTANSWER	it debuted at number three and was certified platinum.	Jessica Hilda Mauboy (born 4 August 1989) is an Australian singer. Born and raised in Darwin, Northern Territory, she rose to fame in 2006 on the fourth season of Australian Idol, where she was runner-up and subsequently signed a recording contract with Sony Music Australia. After releasing a live album of her Idol performances and briefly being a member of the girl group Young Divas in 2007, Mauboy released her debut studio album, Been Waiting, the following year. It included her first number-one single, "Burn", and became the second highest-selling Australian album of 2009, certified double platinum by the Australian Recording Industry Association (ARIA). Her second studio album, Get 'Em Girls (2010), showcased a harder-edged R&B sound, and produced four platinum singles. Her third studio album, Beautiful (2013), a mixture of dance-oriented tracks, R&B and pop, included the top-ten hits "Pop a Bottle (Fill Me Up)", "Never Be the Same" and "Can I Get a Moment?". Aside from her music career, Mauboy has ventured into acting, with starring roles in the films Bran Nue Dae (2010), and The Sapphires (2012), which earned her the AACTA Award for Best Actress in a Supporting Role. She returned to acting in 2016 in the lead role in the television drama series The Secret Daughter for two seasons. It was her first major TV role and was written especially for her. She released two soundtrack albums from the show, the first of which made her the first Indigenous artist with a number-one album on the ARIA Albums Chart. Her fourth studio album, Hilda (October 2019), debuted at number one. Mauboy is one of Australia's most successful female artists. She has achieved six top-ten albums (including two number-ones) and 16 top-twenty singles (including 9 top-ten hits). She has won two ARIA Music Awards from 25 nominations, and was ranked sixteenth on the Herald Suns list of the "100 Greatest Australian Singers of All Time". She has collaborated with international artists such as Flo Rida, Snoop Dogg, Ludacris, Jay Sean, and Pitbull. She has also toured with Beyoncé and Chris Brown, and performed at many notable events, including the Australian visits for Oprah Winfrey, Ellen DeGeneres, and US President Barack Obama. She was a guest performer at the second semifinal of the Eurovision Song Contest in 2014. She competed for Australia at the 2018 Eurovision Song Contest and reached 20th place. Early life Mauboy was born 4 August 1989 and raised in Darwin, Northern Territory. Her father, Ferdy, is an Indonesian-born electrician from West Timor. Her mother, Therese, is an Indigenous Australian from the Kuku Yalanji people of the rainforest regions of Far North Queensland. Mauboy has three older sisters, Sandra, Jenny and Catherine; and a younger sister, Sophia. From an early age, she was involved in the local church choir with her grandmother Harriett. Her home was described as the "noisiest house on the block", with her mother often singing, her father playing guitar and the rest of the family displaying their passion for music. She attended Wulagi Primary School and Sanderson High School in Darwin. She dropped out of school in year 11. At age fourteen, Mauboy's talents were exposed through the Telstra Road to Tamworth competition at the 2004 Tamworth Country Music Festival in Tamworth, New South Wales. As the first winner of the competition, she travelled to Sydney to perform and scored a recording deal with Sony Music Australia. She released a country-inspired rendition of the Cyndi Lauper hit "Girls Just Wanna Have Fun". A video of the song was produced and released, but the song was unsuccessful and Mauboy returned to Darwin. Music career 2006: Australian Idol In 2006, Mauboy auditioned for the fourth season of Australian Idol in Alice Springs, Northern Territory, singing Whitney Houston's "I Have Nothing". Her audition impressed all three judges, and she progressed to the semifinals, then to the top twelve. The media cited her previous Sony contract as grounds for dismissal, but since it had expired, the producers refused to remove her from the show. In the final eleven week, following her rendition of Kelly Clarkson's "Walk Away", judge Kyle Sandilands commented on Mauboy's weight, and said that if she wanted to succeed in the music industry, she should "lose the jelly belly". Mauboy appeared stunned by the comment. In an interview with Who magazine's Alicia Neil, two years after the comment, Mauboy said, "I kind of took it as a joke... I look back on it as a positive thing–it made me a stronger person." In the final ten-week, Mauboy received the first touchdown of the season from judge Mark Holden for her rendition of Christina Aguilera's hit "Beautiful". During the final nine-week, she had a sore throat that resulted in a mediocre rendition of Phil Collins' "Another Day in Paradise" and near-elimination, landing her in the bottom three. She never landed in the bottom three again, and ended up progressing to the final show with Damien Leith. At the grand finale on 27 November at the Sydney Opera House, Mauboy was voted runner-up to Leith. In December 2006, she signed a recording contract with Sony Music Australia, two weeks after Idol ended. 2007–2009: The Journey, Young Divas and Been Waiting Mauboy released her debut live album The Journey on 24 February 2007, which contained two discs. Disc one contained re-recorded covers of the selected songs Mauboy performed as part of the top twelve on Australian Idol, while disc two included a DVD of her performances on the series. The Journey debuted at number four on the ARIA Albums Chart and was certified gold by the Australian Recording Industry Association for shipments of 35,000 units. In September 2007, Mauboy joined as the new member of the girl group Young Divas, replacing one of the group's original members, Ricki-Lee Coulter, who had left in June to resume her solo career. Their second studio album New Attitude was released on 24 November 2007, and debuted at number 10 and was certified gold. The album was preceded by the lead single "Turn Me Loose", which peaked at number 15 on the ARIA Singles Chart. In March 2008, Mauboy signed on to the Australian Government In2Oz program, designed to promote closer ties with Indonesia. As a part of the program, she travelled to Indonesia for a three-day trip performing around the country, including an appearance on Indonesian Idol. It was during this time that Mauboy had begun to work on her first solo studio album. In August 2008, Mauboy announced that after a year with the Young Divas, she had decided to quit in order to concentrate on her solo career. Founding member Paulini had also decided to depart, leaving Kate DeAraugo and Emily Williams as the only remaining members. However, both DeAraugo and Williams resumed their solo careers, and the group officially disbanded. Mauboy's debut studio album Been Waiting was released on 22 November 2008; it peaked at number 11 and was certified double platinum for shipments of 140,000 units. Mauboy co-wrote eleven of the album's songs, which were produced by Audius Mtawarira, Israel Cruz, Jonas Jeberg, Cutfather, Adam Reily, Fingaz and Kwamé. The album received positive reviews from critics. Davey Boy of Sputnikmusic gave the album three out of five stars and wrote that it was an "impressive debut which suggests that there could indeed be quality music to look forward to in the future, as she matures and gains experience". The lead single "Running Back", featuring American rapper Flo Rida, peaked at number three and was certified double platinum. The second single, "Burn", became Mauboy's first number-one single, and was certified platinum. It also reached number 92 on the Japan Hot 100 and became Mauboy's first single to chart internationally. The album's third single and title track peaked at number 12 and was certified gold. The following singles, "Because" and "Up/Down", peaked at numbers nine and 11, respectively, and both were certified gold. In February 2009, Mauboy signed with UK record label Ministry of Sound. Been Waiting was released in Japan on 22 April 2009, and reached number 138 on the Japanese Albums Chart. At the 2009 Deadly Awards, Mauboy won three awards in the categories of Female Artist of the Year, Album of the Year for Been Waiting, and Single Release of the Year for "Burn". Along with Flo Rida, Mauboy served as a support act for Beyoncé on the Australian leg of her I Am... World Tour in September 2009. At the 2009 ARIA Music Awards, Mauboy earned seven nominations for Been Waiting and its singles; she was nominated for Highest Selling Album, Best Pop Release, Breakthrough Artist Album, Best Female Artist, Breakthrough Artist Single for "Running Back", and Highest Selling Single for "Running Back" and "Burn". Eventually, Mauboy won Highest Selling Single for "Running Back". 2010–2012: Get 'Em Girls and The Sapphires soundtrack In January 2010, Mauboy signed to Universal Music for an exclusive worldwide long-term publishing agreement. In May 2010, Mauboy collaborated with four other international artists representing their continents—Sean Kingston representing America, Jody Williams representing Africa, Tabitha Nauser (Asia), Steve Appleton (Europe), with Mauboy representing Oceania—on the theme song for the 2010 Summer Youth Olympics titled "Everyone". Mauboy, Williams, Nauser and Appleton performed "Everyone" at the opening of the Youth Olympics held in Singapore on 14 August 2010. Kingston was unable to attend the performance, due to a passport mix-up. Mauboy released her second studio album Get 'Em Girls on 5 November 2010; it debuted at number six and was certified gold. She had travelled to the United States in February of that year to work on the album in Los Angeles, New York, and Atlanta with American songwriters and producers, most of whom she had not worked with previously. Mauboy co-wrote eight of the album's songs. Get 'Em Girls received mixed reviews from critics. Majhid Heath of ABC Online Indigenous gave the album two-and-a-half out of five stars, writing that it's a "non-cohesive mess of similar sounding, auto-tuned ravaged pop/R&B that diminishes the talent of this brilliant young songstress". The album's title track, featuring American rapper Snoop Dogg, peaked at number 19. Mauboy performed "Get 'Em Girls" at the 2010 Nickelodeon Australian Kids' Choice Awards, where she co-hosted the award ceremony with Liam Hemsworth and Jerry Trainor, and won the award for Fave Aussie Muso. The following singles, "Saturday Night" featuring American rapper Ludacris and "What Happened to Us" featuring English singer Jay Sean, peaked at numbers seven and 14, respectively. The former single was certified double platinum while the latter was only certified platinum. At the 2010 Australian of the Year Awards, Mauboy received her first nomination for Young Australian of the Year. On 10 December 2010, she performed in front of an audience of 92,000 at the Federation Square in Melbourne, ahead of Oprah Winfrey's visit to the place. Mauboy's performance was shown in the first of the four Australian specials of The Oprah Winfrey Show on 18 January 2011. In April 2011, she served as a support act for Chris Brown's Australian leg of his F.A.M.E. Tour. Get 'Em Girls was re-released as a deluxe edition on 12 August 2011, which included the singles "Inescapable" and "Galaxy" featuring Stan Walker. The former single peaked at number four and was certified double platinum, while the latter peaked at number 13 and was certified platinum. "Galaxy" also reached number 36 on the New Zealand Singles Chart and became Mauboy's first single to chart in that country. On 17 November 2011, Mauboy performed for the Australian troops at RAAF Base Darwin, ahead of US President Barack Obama's visit to the place. In January 2012, Mauboy and Walker embarked on their Galaxy Tour across Australia, which served as her first headlining tour. Mauboy recorded 15 songs for [[The Sapphires (soundtrack)\|''The Sapphires soundtrack album]], which was released on 27 July 2012. The album debuted at number one and was certified platinum. Mauboy released "Gotcha" as the album's lead single, which peaked at number 43 and was certified gold. At the 2012 ARIA Music Awards, she was nominated for Best Female Artist, Best Pop Release for "Gotcha", and Song of the Year for "Galaxy". 2013–2014: Beautiful, Eurovision and iTunes Session EP Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca", with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland, to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". 2015–2018: The Secret Daughter soundtracks and Eurovision Mauboy performed at the ICC Cricket World Cup opening ceremony held on 12 February 2015 at the Sidney Myer Music Bowl in Melbourne. On 3 May 2015, she appeared on the US Today show in a segment that was filmed live at the Sydney Opera House with host Savannah Guthrie. In an interview with the Australian Associated Press that same month, Mauboy revealed that she had already begun writing songs for her upcoming fourth studio album. She said, "This time around with the album I would like to...just take risks in terms of the sound and identifying who I am as a woman. It's more of a rhythmic pop so it's not going to be extreme pop. It's going to be a little bit more soul." "This Ain't Love", released in September 2015, was originally intended to be the album's lead single; it peaked at number five and was certified gold. Mauboy along with The Veronicas and Tina Arena performed Arena's 1994 single "Chains" at the 2015 ARIA Music Awards, where Arena was inducted into the ARIA Hall of Fame. Their version was released as a single following the performance, and peaked at number 14. In March 2016, Mauboy released the single "Where I'll Stay", which was used to promote the Seven Network's coverage of the 2016 Rio Olympics. Plans for Mauboy's upcoming fourth studio album were put on hold when she released her first individual soundtrack album, The Secret Daughter: Songs from the Original TV Series, on 14 October 2016. The album featured music used in the television series of the same name, in which Mauboy plays the lead role of Billie Carter. The album included five original songs and twelve cover versions of songs by Cold Chisel, Crowded House, The Clash, Roxette, Ed Sheeran and Alex Lloyd, among others. One of the original tracks, "Risk It", was released as the lead single from the soundtrack album. The Secret Daughter: Songs from the Original TV Series became Mauboy's first individual number-one album and also made her the first Indigenous artist to reach number one on the ARIA Albums Chart. Mauboy embarked on her third headlining tour, All the Hits Live – The Australian Tour, in March and April 2017, where she performed songs from the last 10 years of her career. Mauboy's second individual soundtrack album, The Secret Daughter Season Two: Songs from the Original 7 Series, was released on 6 October 2017. The album included two original songs and sixteen covers of songs by The Church, Crowded House, Thirsty Merc, Paul Kelly, Lighthouse Family and Aretha Franklin, among others. Original track "Fallin'" was released as the album's lead single; it peaked at number 11, became Mauboy's sixteenth top-twenty hit, and was certified platinum. The Secret Daughter Season Two: Songs from the Original 7 Series debuted at number two and became Mauboy's fifth top-ten album. She received six nominations at the 2017 ARIA Music Awards, including Best Female Artist and Best Original Soundtrack, Cast or Show Album for The Secret Daughter, Best Australian Live Act, and Song of the Year, Best Pop Release and Best Video for "Fallin'". On 11 December 2017, Mauboy was announced as the Australian representative for the 2018 Eurovision Song Contest in Portugal; becoming the fourth artist to compete for Australia. In May 2018, Mauboy performed the song "We Got Love" which finished in 20th position in the final. 2019–2020: Hilda and Sony depart On 11 April 2019, Mauboy released her new single "Sunday" from her upcoming fourth studio album, Hilda (October 2019). A video for the song was released on 30 April 2019, directed by Nick Waterman and produced by Jo Austin. The album's second single "Little Things" was released on 21 June along with the pre-order for the album. Hilda debuted at number one on the ARIA Albums Chart. In October 2019 "Little Things" was certified as an ARIA platinum single. The same month, "Selfish" impacted Australian radio as the third official single from Hilda. In December 2020, Mauboy left Sony after fourteen years and signed a new record deal with Warner Music Australia, with new music to be released in 2021. 2021: "Glow" On 12 November 2021, Mauboy released "Glow", the first release on Warner Music Australia. Personal life In late 2008, Mauboy moved from Darwin to Sydney, ahead of the release of her debut studio album Been Waiting. In January 2009, she began a long-distance relationship with Themeli "Magoo" Magripilis, a soccer player and council worker of Greek descent, who was born and raised in Darwin. Alt URL Magripilis played for the Darwin soccer league's club Hellenic Athletic, the same club that Mauboy's younger sister Sophia played for. After seven years of long distance dating, Magripilis relocated from Darwin to Sydney in September 2016 and moved in with Mauboy. When she is not working, Mauboy returns to Darwin to spend time with her family. She is an avid fan of NRL side North Queensland Cowboys. Artistry Music and songwriting Mauboy's music is generally R&B and pop, but she also incorporates dance, funk, soul and hip hop into some of her songs. Mauboy's debut studio album Been Waiting (2008) was described as "a blend of electro beats, heartfelt pop tunes and R&B bass lines." Most of the themes on the album dealt with boys, love and break-ups, everyday life, family issues, and friendship. Alasdair Duncan from Rave magazine described Mauboy's second studio album Get 'Em Girls (2010) as "a more hard-edged take on R&B and pop than her debut, pumped full of hip hop beats, jagged synths and futuristic vocal effects." Mauboy said that she wanted each song on the album to talk about a "woman's needs", and that the album's theme was "very much about the empowerment of women and the domination of women." Kylie Northover of The Sydney Morning Herald noted that Mauboy's third studio album Beautiful (2013) featured "a mix of more dance-oriented tunes and her usual R&B sound". Mauboy has also incorporated her Aboriginal heritage into her music, including songs on the soundtrack album for The Sapphires and in the single "Sea of Flags". Aside from her vocals work, Mauboy can also play the piano and has co-written some of her material. She co-wrote eleven songs on her first studio album, nine on her second studio album, and fourteen on her third studio album. In 2010, Mauboy was nominated for Breakthrough Songwriter of the Year at the APRA Awards. Mauboy stated in an interview that while working with American producer Harvey Mason, Jr., they came up with the melodies and hooks for the songs "Fight for You" and "Here for Me" on the album Get 'Em Girls. She also experimented with an operatic-type voice on her song "Scariest Part". Influences Mauboy grew up listening to country singers Patsy Cline, Dolly Parton and Slim Dusty; she credits country music as her first love of music, saying the genre "is who I really, really am deeply." Mauboy also grew up listening to hip-hop rappers Tupac Shakur, Dr. Dre and Snoop Dogg. Mauboy cites Mariah Carey as her main influence and inspiration, stating that she has "drawn a lot of inspiration from watching and listening to her live performances". She grew up listening to many of Carey's songs and was inspired by her vocal style and songwriting, "I loved 'Dreamlover' and 'Fantasy' – and picked up loads of tips from her style of singing. She taught me that the lyrics you write have to come from personal experiences – I really felt her music. Now I aspire to writing honest lyrics with real feelings that people can relate to." Mauboy also names Whitney Houston as another influence, stating that she looks up to her and Carey "for their outstanding vocal performances". Her other musical influences are John Farnham and Beyoncé. Mauboy is also inspired by fellow Indigenous Australian women such as Olympic gold medalist Cathy Freeman and actress Deborah Mailman. Public image Mauboy is known for her good girl image and is considered a role model to young girls and Indigenous communities in Australia. Ed Gibbs of The Sydney Morning Herald described her as a "wholesome girl-next-door", while Holly Richards of New Idea noted that she "is renowned for her squeaky-clean image and family values." Genevieve Rosen of The Vine wrote that Mauboy's "flawless public image is no farce. Humble, genuinely engaging and passionate about public service, Mauboy, put simply, is really nice." Anna Byrne of the Herald Sun observed, "It's clear this endearing unpretentiousness is not a fame facade. In every respect, the pint-sized pop star embodies one of the most elusive qualities of stardom: relatability. It's this genuineness that has seen her star ascend to where she actually is." Fashion has influenced Mauboy's music career and image. Byrne noted that her "fashion choices have mirrored her rise in fame, with her style evolving from shy schoolgirl to confident diva, set to steal the sartorial spotlight." Mauboy cites Jennifer Lopez as her style icon. She has worn dresses designed by Dolce & Gabbana, J'Aton, Steven Khalil and Toni Matičevski, and has appeared on the covers of fashion magazines in Australia, including Elle, InStyle, and Marie Claire. She has also appeared on the cover of Who magazine's Sexiest People issue twice; first in 2012 and again in 2016. Mauboy's weight has been the subject of media interest, ever since her rise to fame on Australian Idol when judge Kyle Sandilands publicly told her to "lose the jelly belly". Mauboy told Women's Health magazine that she was proud of her curvy figure, saying "having curves is one of my favourite things". In 2014, she received media attention for her weight loss transformation from a size 12 to 8. Mauboy has an alter ego named J Malley, who she described as her "fearless side" and "sort of like Beyoncé's Sasha Fierce". Mauboy is often referred to as Australia's answer to Beyoncé. However, she does not agree with the comparisons, saying "I totally disagree with that one. I've...watched her documentary [Life Is But a Dream] and was just blown away by how magnificent she really is and it's so inspiring for me. I just think she's fantastic and I'm completely nowhere near where she is, but I aspire to that." With the release of Mauboy's second studio album Get 'Em Girls, some critics felt that she was becoming an "R&B sexpot". Both the album and its title track also received negative reviews from critics. The music video for the title track was heavily criticised by fans who felt that Mauboy had become too sexy and moved away from her good girl image. Speaking of Mauboy's image for R&B music, Fairfax Media journalist Bernard Zuel said: "It's a problem, matching the personality to a formula. The formula with young women singing modern R&B is that they have to be out there sexually, thrusting physically and vocally. But that's just not who she is." Following the release of her single "Gotcha" in 2012, Miranda Cashin of Sunshine Coast Daily noted that it was "a return to the Mauboy [we knew] before the infamous 2010 sexed-up fist-pumping album, Get 'Em Girls". Other ventures Acting career In January 2010, Mauboy made her acting debut in the film adaptation of the 1990 Aboriginal musical Bran Nue Dae. The film was directed by Rachel Perkins and also starred Ernie Dingo, Geoffrey Rush, Missy Higgins, and Deborah Mailman. In the film, Mauboy played the role of Rosie, a local church singer who has a love interest for a school boy named Willie (played by Rocky McKenzie). Her performance in the film earned her a nomination for Female Actress of the Year at the 2010 Deadly Awards. In November 2010, Mauboy made a guest appearance in the final episode of the mini-series Underbelly: Razor, and played the role of a nightclub singer named Gloria Starr. In 2012, Mauboy had a lead role in The Sapphires, a film based on the stage show of the same name. It was directed by Wayne Blair and also starred Deborah Mailman, Shari Sebbens, and Miranda Tapsell. Mauboy played the role of Julie McCrae, one of the four Indigenous Australian women who travel to Vietnam to sing for the American troops. Mauboy and the cast attended the film's premiere at the 65th Annual Cannes Film Festival in Cannes, France, on 20 May 2012. Upon its release in the US, Mauboy appeared on The Ellen DeGeneres Show on 18 April 2013. Her performance in The Sapphires earned her the AACTA Award for Best Actress in a Supporting Role and the Australian Film Critics Association Award for Best Supporting Actress. In September 2013, Mauboy made a guest appearance as herself in the third and final season of the teen drama Dance Academy. In 2016, Mauboy was cast in the lead role of the television drama series The Secret Daughter, which premiered on the Seven Network on 3 October. It was Mauboy's first major TV role and was written especially for her. She portrayed the role of Billie Carter, a part-time country pub singer whose life changes after coming in contact with a rich hotelier. The role earned Mauboy her first Logie Award nomination for Best Actress, and the show was renewed for a second and final season in 2017. Mauboy guest starred in the 2016 season finale of Home and Away as herself, where she performed at the Summer Bay Groove Festival. Endorsements In 2007, Mauboy appeared in advertisements for the shampoo product, Head & Shoulders. In April 2009, she teamed up with Bloom Cosmetics to create two designer collection nail polishes, which included shades of sangria red and metallic green. Mauboy became the new face of the video game Nintendogs + Cats 3DS in October 2010, and joined forces with RSPCA and Nintendo to help promote the game. She teamed up with clothing label KuKu in December 2010 to launch her five-dress fashion range, which were made available to buy at Myer stores across Australia. In February 2013, Mauboy was announced as the ambassador for the National Rugby League (NRL) and featured in their television advertising campaign singing her cover version of Etta James' "Something's Got a Hold on Me", the theme song for the 2013 NRL season. The following month, Mauboy became the ambassador of the 2013 Woolworths Earn & Learn program, which enables primary and secondary schools in Australia as well as early learning centres to earn educational resources through the school community shopping at Woolworths. She appeared in two television commercials for the program, featuring students from Wulagi Primary School in Darwin. In 2014, Mauboy became the ambassador for the health and wellness company Swisse and appeared in a television commercial for Telstra's commitment to its customers campaign. In May 2015, she became the new face for Target Australia's Womenswear and represented the brand for a year. Mauboy's first fragrance, Be Beautiful, was released on 30 October 2015. The fragrance was developed by Mauboy in partnership with BrandPoint and was inspired by her hometown of Darwin. In February 2017, Mauboy became the ambassador for Foxtel's new Fox League channel dedicated to screening rugby league, and appeared in a television commercial to help launch the channel. Philanthropy Throughout her career, Mauboy has supported various charities in Australia. She is an ambassador for the Sony Foundation, which raises funds for youth-related causes. As an ambassador for the Foundation, Mauboy has made several hospital visits and performed at many of their annual fundraising events such as Wharf4Ward, which raises funds to build specialised youth cancer centres across Australia. In April 2009, sales from the nail polish bottles Mauboy created with Bloom Cosmetics were donated to Children's Hospital Foundations Australia to support the research into childhood illness. Mauboy has performed at several other fundraising events including charity balls, charity dinners, Christmas carols events, and telethons. For many years, Mauboy has performed at the annual Channel Seven Perth Telethon. In December 2011, she performed free acoustic concerts across Australia as part of the Indian Pacific Outback Christmas train journey, an annual fund-raiser for the Royal Flying Doctor Service. On 14 December 2012, she performed a free pop up show at Federation Square in Melbourne, as part of the Optus Carols for a Cause event, which raised funds for Kids Helpline and The Smith Family. Mauboy headlined the Come Together charity concert in Ulverstone, Tasmania on 19 May 2013, in aid of two boys who were burnt in an explosion. All proceeds from the concert went into a trust fund for the boys' ongoing treatment. Mauboy has also contributed to Indigenous organisations aimed at improving children's education. In 2009, she became a spokesperson for the Indigenous Literacy Project (ILP), which aims to provide "books and learning materials to schools, libraries and women's centres in remote areas." As spokesperson for the charity, Mauboy visited schools across Australia and talked to students about the importance of education. In 2011, she worked with the Yalari organisation "that offers children from regional, rural and remote communities and towns across Australia the opportunity to get a first-class secondary education." In 2013, Mauboy was appointed as the ambassador of the independent Aboriginal Yipirinya School in Alice Springs. Along with making several visits to the school, Mauboy has helped promote the school and assist with its fundraisings. In August 2015, she became an ambassador for the Indigenous Literacy Foundation, which raises support and awareness of literacy in remote indigenous communities. Her songs have been included on charity compilation albums such as Bushfire Aid: Artists for the Bushfire Appeal (2009), Spirit of Christmas (2009), and Flood Relief – Artists for the Flood Appeal (2011). Mauboy along with Guy Sebastian, Sheppard, Jon Stevens, Shannon Noll and Megan Washington were featured on Lee Kernaghan's 2015 charity single "Spirit of the Anzacs", which raised funds for Legacy and Soldier On. Television In December 2020, Mauboy was announced to have joined the judging panel of The Voice Australia for its upcoming tenth season to replace Boy George. Discography Been Waiting (2008) Get 'Em Girls (2010) Beautiful (2013) Hilda (2019) Filmography Film Bran Nue Dae (2010) The Sapphires (2012) Television Australian Idol (2006) The Secret Daughter (2016–17) The Voice Australia (2021–Present) The Voice Generations Australia (2022–Present) Music videos and other videography ToursHeadliningGalaxy Tour (with Stan Walker) (2012) To the End of the Earth Tour (2013–14) All the Hits Live – The Australian Tour (2017)Supporting act''' Beyoncé's I Am... World Tour: Australian leg (2009) Chris Brown's F.A.M.E. Tour: Australian leg (2011) See also List of awards and nominations received by Jessica Mauboy References External links 1989 births 21st-century Australian singers 21st-century Australian women singers Actresses from the Northern Territory APRA Award winners ARIA Award winners Australian child singers Australian contemporary R&B singers Australian women pop singers Australian women singer-songwriters Australian film actresses Australian Idol participants Australian people of Indonesian descent Australian singer-songwriters Best Supporting Actress AACTA Award winners Eurovision Song Contest entrants of 2018 Eurovision Song Contest entrants for Australia Indigenous Australian actresses Indigenous Australian musicians Living people Musicians from the Northern Territory People from Darwin, Northern Territory Sony Music Australia artists Young Divas members	true	[ "Ben James Peters (born Greenville, Mississippi, June 20, 1933; died Nashville, Tennessee, May 25, 2005) was an American country music songwriter who wrote many #1 songs. Charley Pride recorded 68 of his songs and 6 of them went to #1 on the American country charts. Peters was inducted into the Nashville Songwriters Hall of Fame in 1980.\n\nPeters was briefly a recording artist himself; his only charting hit was his own composition \"San Francisco is a Lonely Town\", which hit #46 on the country charts in 1969.\n\nNumber One Compositions in America\n\n\"Turn the World Around\" (1967) was a #1 Billboard chart country hit for Eddy Arnold & top 5 Billboard chart AC single.\n\"That's A No, No\" was a 1969 #1 Cashbox chart country hit for Lynn Anderson.\n\"Kiss an Angel Good Mornin'\" was a 1971 #1 Billboard chart country hit for Charley Pride; it also went to #21 on the American pop charts. It won Ben Peters the 1973 Grammy Award for Best Country Song.\n\"It's Gonna Take a Little Bit Longer\" was a 1972 #1 Billboard chart country hit for Charley Pride.\n\"Before the Next Teardrop Falls\" (w/Vivian Keith); first recorded in 1967 by Duane Dee in a version which reached #44 on the Billboard country singles chart early in 1968, the 1975 version by Freddy Fender was a #1 Billboard chart country and a #1 Billboard chart pop hit; it won a Country Music Association Award for Single of the Year in 1975.\n\"Love Put a Song in My Heart\" (1975) was a #1 Billboard chart country hit for Johnny Rodriguez.\n\"A Whole Lotta Things to Sing About\" was a #1 Billboard chart country hit for Charley Pride in 1976.\n\"Daytime Friends\" (1977) was a #1 Billboard chart country hit for Kenny Rogers. Westlife covered this song for a special BBC performance with Tony Brown as producer.\n\"Burgers and Fries\" was a 1978 #1 Billboard chart country hit for Charley Pride.\n\"Before My Time\" was a 1979 #1 Record World chart country hit for John Conlee and also a #1 hit on Canada's RPM'S country chart.\n\"You're So Good When You're Bad\" (1982) was a #1 Billboard chart country hit for Charley Pride.\n\nOther Number One Compositions\n I Want To Wake Up With You as recorded by Reggae singer, Boris Gardiner (1986-1987). This song was #1 in UK for 3 weeks. This song is one of the biggest hits in the history of reggae music.\n\"Living It Down\" went #1 in Canada's country music charts and it went to #2 as a Billboard chart country hit for Freddy Fender in 1976 in America.\n\nNotable Compositions\n\n\"If The Whole World Stopped Lovin'\" was a #3 pop hit in the UK in November 1967 for the Irish singer Val Doonican. It made #2 in Ireland.\n\"If The Whole World Stopped Lovin'\" was a #12 American Billboard chart hit in 1966 pop hit for Roy Drusky.\n\"Misty Memories\" was a Grammy Nominated country chart hit for Brenda Lee in 1971.\n\"I Need Somebody Bad\" was a #11 Billboard country chart hit for Jack Greene in 1973.\n\"Don't Give Up On Me\" was a #3 American Billboard country chart hit for Jerry Wallace in 1973.\n\"It's Time To Cross That Bridge\" was a #13 Billboard chart country hit for Jack Greene in 1973.\n\"I Can't Believe That It's All Over\" was a #13 Billboard chart country hit for Skeeter Davis in 1973.\n\"All Over Me\" was a 1975 #4 Billboard chart country hit in America for Charlie Rich.\n\"Lovin' On\" was a #20 American Billboard chart country hit for T.G. Sheppard in 1977.\n\"Before the Night is Over\" was recorded by Jerry Lee Lewis originally in 1977 and by Jerry Lee and BB King in 2006.\n\"Puttin' In Overtime At Home\" was a 1977 #8 Billboard chart country hit in America for Charlie Rich. It made #3 in Canada.\n\"Lovin' On\" was a #16 American Billboard chart country hit for Bellamy Brothers in 1978.\n\"Tell Me What It's Like\" (1979) was a #8 American Billboard chart Grammy Nominated country hit for Brenda Lee.\n\"Lost My Baby Blues\" was a 1982 top 5 Billboard chart country hit in America for David Frizzell. It made #5 in Canada.\n\"I'm Only a Woman\" recorded by Tammy Wynette.\n\nNotable History Making Albums\n\nPeters had 3 songs, \"The Little Town Square\", \"That's A No No\" and \"Satan Place\" on the million selling The Harper Valley P.T.A. album. This is a pop culture music album by Jeannie C. Riley released in 1968. This is Jeannie C. Riley's biggest album ever. The album was released by Plantation Records, and was very successful. The album reached No. 1 on the Billboard pop album chart, and No. 1 on the Billboard country album chart.\nPeters had 2 songs, \"Mr. Mistletoe\" and \"Soon It Will Be Christmas Day\" on The Christmas Album. This is a holiday music album by country music singer Lynn Anderson released in 1971. This was Lynn Anderson's first Christmas music album. The album was released by Columbia Records, and was very successful. The album reached No. 13 on the \"Billboard 200\" in 1971 (her highest chart position on that chart).\nPeters had 1 song, \"Daytime Friends\" on the 4 million selling 10 Years of Gold album. This is a collection of 10 years of Kenny Rogers hits. The album was released by United Artist, and went No. 1 on the Billboard country album chart in 1977.\nPeters had 1 song, \"Daytime Friends\" on the 4 million selling Kenny Rogers 20 Greatest Hits album. This is a collection of his hits prior to this project released in 1983. The album was released by Liberty Records, and was successful.\n\nReferences\n\nAmerican country songwriters\nAmerican male songwriters\nUniversity of Southern Mississippi alumni\n2005 deaths\n1933 births\nMusicians from Greenville, Mississippi\n20th-century American musicians\nSongwriters from Mississippi\n20th-century American male musicians", "Carpark North is the debut album by Danish electronic rock band Carpark North. It was released on 10 February 2003.\n\nTwo songs from the album were previously released: \"There's a Place\" in 2001 on the airwaves of Danish national radio, and \"40 Days\" on Carpark North's 40 Days EP.\n\nThe album was used as a soundtrack for the Danish teen-horror hit movie \"Midsommer\". The first single from the album, \"Transparent & Glasslike\" was an instant hit on the radio, and the album sold 10,000 units the first week. Over the following months the debut was certified platinum in Denmark, and the following Danish tour was sold out.\n\nIn 2005, the song \"Homeland\" was used in the hit American TV series Alias.\n\nTrack listing\n\nCharts\n\nReferences\n\n2003 debut albums\nCarpark North albums\nAlbums produced by Joshua (record producer)" ]
[ "Jessica Mauboy", "2013-14: Beautiful, Eurovision, and iTunes Session EP", "Was \"Beautiful\" a song or an album?", "third studio album Beautiful", "Was the album a hit?", "it debuted at number three and was certified platinum." ]	C_a8241246e91444b29e1e042142685892_0	What were some of the top singles from the album	3	What were some of the top singles from the album "Beautiful", by Jessica Mauboy?	Jessica Mauboy	Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca" with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". CANNOTANSWER	The lead single "To the End of the Earth" peaked at number 21 and was certified gold,	Jessica Hilda Mauboy (born 4 August 1989) is an Australian singer. Born and raised in Darwin, Northern Territory, she rose to fame in 2006 on the fourth season of Australian Idol, where she was runner-up and subsequently signed a recording contract with Sony Music Australia. After releasing a live album of her Idol performances and briefly being a member of the girl group Young Divas in 2007, Mauboy released her debut studio album, Been Waiting, the following year. It included her first number-one single, "Burn", and became the second highest-selling Australian album of 2009, certified double platinum by the Australian Recording Industry Association (ARIA). Her second studio album, Get 'Em Girls (2010), showcased a harder-edged R&B sound, and produced four platinum singles. Her third studio album, Beautiful (2013), a mixture of dance-oriented tracks, R&B and pop, included the top-ten hits "Pop a Bottle (Fill Me Up)", "Never Be the Same" and "Can I Get a Moment?". Aside from her music career, Mauboy has ventured into acting, with starring roles in the films Bran Nue Dae (2010), and The Sapphires (2012), which earned her the AACTA Award for Best Actress in a Supporting Role. She returned to acting in 2016 in the lead role in the television drama series The Secret Daughter for two seasons. It was her first major TV role and was written especially for her. She released two soundtrack albums from the show, the first of which made her the first Indigenous artist with a number-one album on the ARIA Albums Chart. Her fourth studio album, Hilda (October 2019), debuted at number one. Mauboy is one of Australia's most successful female artists. She has achieved six top-ten albums (including two number-ones) and 16 top-twenty singles (including 9 top-ten hits). She has won two ARIA Music Awards from 25 nominations, and was ranked sixteenth on the Herald Suns list of the "100 Greatest Australian Singers of All Time". She has collaborated with international artists such as Flo Rida, Snoop Dogg, Ludacris, Jay Sean, and Pitbull. She has also toured with Beyoncé and Chris Brown, and performed at many notable events, including the Australian visits for Oprah Winfrey, Ellen DeGeneres, and US President Barack Obama. She was a guest performer at the second semifinal of the Eurovision Song Contest in 2014. She competed for Australia at the 2018 Eurovision Song Contest and reached 20th place. Early life Mauboy was born 4 August 1989 and raised in Darwin, Northern Territory. Her father, Ferdy, is an Indonesian-born electrician from West Timor. Her mother, Therese, is an Indigenous Australian from the Kuku Yalanji people of the rainforest regions of Far North Queensland. Mauboy has three older sisters, Sandra, Jenny and Catherine; and a younger sister, Sophia. From an early age, she was involved in the local church choir with her grandmother Harriett. Her home was described as the "noisiest house on the block", with her mother often singing, her father playing guitar and the rest of the family displaying their passion for music. She attended Wulagi Primary School and Sanderson High School in Darwin. She dropped out of school in year 11. At age fourteen, Mauboy's talents were exposed through the Telstra Road to Tamworth competition at the 2004 Tamworth Country Music Festival in Tamworth, New South Wales. As the first winner of the competition, she travelled to Sydney to perform and scored a recording deal with Sony Music Australia. She released a country-inspired rendition of the Cyndi Lauper hit "Girls Just Wanna Have Fun". A video of the song was produced and released, but the song was unsuccessful and Mauboy returned to Darwin. Music career 2006: Australian Idol In 2006, Mauboy auditioned for the fourth season of Australian Idol in Alice Springs, Northern Territory, singing Whitney Houston's "I Have Nothing". Her audition impressed all three judges, and she progressed to the semifinals, then to the top twelve. The media cited her previous Sony contract as grounds for dismissal, but since it had expired, the producers refused to remove her from the show. In the final eleven week, following her rendition of Kelly Clarkson's "Walk Away", judge Kyle Sandilands commented on Mauboy's weight, and said that if she wanted to succeed in the music industry, she should "lose the jelly belly". Mauboy appeared stunned by the comment. In an interview with Who magazine's Alicia Neil, two years after the comment, Mauboy said, "I kind of took it as a joke... I look back on it as a positive thing–it made me a stronger person." In the final ten-week, Mauboy received the first touchdown of the season from judge Mark Holden for her rendition of Christina Aguilera's hit "Beautiful". During the final nine-week, she had a sore throat that resulted in a mediocre rendition of Phil Collins' "Another Day in Paradise" and near-elimination, landing her in the bottom three. She never landed in the bottom three again, and ended up progressing to the final show with Damien Leith. At the grand finale on 27 November at the Sydney Opera House, Mauboy was voted runner-up to Leith. In December 2006, she signed a recording contract with Sony Music Australia, two weeks after Idol ended. 2007–2009: The Journey, Young Divas and Been Waiting Mauboy released her debut live album The Journey on 24 February 2007, which contained two discs. Disc one contained re-recorded covers of the selected songs Mauboy performed as part of the top twelve on Australian Idol, while disc two included a DVD of her performances on the series. The Journey debuted at number four on the ARIA Albums Chart and was certified gold by the Australian Recording Industry Association for shipments of 35,000 units. In September 2007, Mauboy joined as the new member of the girl group Young Divas, replacing one of the group's original members, Ricki-Lee Coulter, who had left in June to resume her solo career. Their second studio album New Attitude was released on 24 November 2007, and debuted at number 10 and was certified gold. The album was preceded by the lead single "Turn Me Loose", which peaked at number 15 on the ARIA Singles Chart. In March 2008, Mauboy signed on to the Australian Government In2Oz program, designed to promote closer ties with Indonesia. As a part of the program, she travelled to Indonesia for a three-day trip performing around the country, including an appearance on Indonesian Idol. It was during this time that Mauboy had begun to work on her first solo studio album. In August 2008, Mauboy announced that after a year with the Young Divas, she had decided to quit in order to concentrate on her solo career. Founding member Paulini had also decided to depart, leaving Kate DeAraugo and Emily Williams as the only remaining members. However, both DeAraugo and Williams resumed their solo careers, and the group officially disbanded. Mauboy's debut studio album Been Waiting was released on 22 November 2008; it peaked at number 11 and was certified double platinum for shipments of 140,000 units. Mauboy co-wrote eleven of the album's songs, which were produced by Audius Mtawarira, Israel Cruz, Jonas Jeberg, Cutfather, Adam Reily, Fingaz and Kwamé. The album received positive reviews from critics. Davey Boy of Sputnikmusic gave the album three out of five stars and wrote that it was an "impressive debut which suggests that there could indeed be quality music to look forward to in the future, as she matures and gains experience". The lead single "Running Back", featuring American rapper Flo Rida, peaked at number three and was certified double platinum. The second single, "Burn", became Mauboy's first number-one single, and was certified platinum. It also reached number 92 on the Japan Hot 100 and became Mauboy's first single to chart internationally. The album's third single and title track peaked at number 12 and was certified gold. The following singles, "Because" and "Up/Down", peaked at numbers nine and 11, respectively, and both were certified gold. In February 2009, Mauboy signed with UK record label Ministry of Sound. Been Waiting was released in Japan on 22 April 2009, and reached number 138 on the Japanese Albums Chart. At the 2009 Deadly Awards, Mauboy won three awards in the categories of Female Artist of the Year, Album of the Year for Been Waiting, and Single Release of the Year for "Burn". Along with Flo Rida, Mauboy served as a support act for Beyoncé on the Australian leg of her I Am... World Tour in September 2009. At the 2009 ARIA Music Awards, Mauboy earned seven nominations for Been Waiting and its singles; she was nominated for Highest Selling Album, Best Pop Release, Breakthrough Artist Album, Best Female Artist, Breakthrough Artist Single for "Running Back", and Highest Selling Single for "Running Back" and "Burn". Eventually, Mauboy won Highest Selling Single for "Running Back". 2010–2012: Get 'Em Girls and The Sapphires soundtrack In January 2010, Mauboy signed to Universal Music for an exclusive worldwide long-term publishing agreement. In May 2010, Mauboy collaborated with four other international artists representing their continents—Sean Kingston representing America, Jody Williams representing Africa, Tabitha Nauser (Asia), Steve Appleton (Europe), with Mauboy representing Oceania—on the theme song for the 2010 Summer Youth Olympics titled "Everyone". Mauboy, Williams, Nauser and Appleton performed "Everyone" at the opening of the Youth Olympics held in Singapore on 14 August 2010. Kingston was unable to attend the performance, due to a passport mix-up. Mauboy released her second studio album Get 'Em Girls on 5 November 2010; it debuted at number six and was certified gold. She had travelled to the United States in February of that year to work on the album in Los Angeles, New York, and Atlanta with American songwriters and producers, most of whom she had not worked with previously. Mauboy co-wrote eight of the album's songs. Get 'Em Girls received mixed reviews from critics. Majhid Heath of ABC Online Indigenous gave the album two-and-a-half out of five stars, writing that it's a "non-cohesive mess of similar sounding, auto-tuned ravaged pop/R&B that diminishes the talent of this brilliant young songstress". The album's title track, featuring American rapper Snoop Dogg, peaked at number 19. Mauboy performed "Get 'Em Girls" at the 2010 Nickelodeon Australian Kids' Choice Awards, where she co-hosted the award ceremony with Liam Hemsworth and Jerry Trainor, and won the award for Fave Aussie Muso. The following singles, "Saturday Night" featuring American rapper Ludacris and "What Happened to Us" featuring English singer Jay Sean, peaked at numbers seven and 14, respectively. The former single was certified double platinum while the latter was only certified platinum. At the 2010 Australian of the Year Awards, Mauboy received her first nomination for Young Australian of the Year. On 10 December 2010, she performed in front of an audience of 92,000 at the Federation Square in Melbourne, ahead of Oprah Winfrey's visit to the place. Mauboy's performance was shown in the first of the four Australian specials of The Oprah Winfrey Show on 18 January 2011. In April 2011, she served as a support act for Chris Brown's Australian leg of his F.A.M.E. Tour. Get 'Em Girls was re-released as a deluxe edition on 12 August 2011, which included the singles "Inescapable" and "Galaxy" featuring Stan Walker. The former single peaked at number four and was certified double platinum, while the latter peaked at number 13 and was certified platinum. "Galaxy" also reached number 36 on the New Zealand Singles Chart and became Mauboy's first single to chart in that country. On 17 November 2011, Mauboy performed for the Australian troops at RAAF Base Darwin, ahead of US President Barack Obama's visit to the place. In January 2012, Mauboy and Walker embarked on their Galaxy Tour across Australia, which served as her first headlining tour. Mauboy recorded 15 songs for [[The Sapphires (soundtrack)\|''The Sapphires soundtrack album]], which was released on 27 July 2012. The album debuted at number one and was certified platinum. Mauboy released "Gotcha" as the album's lead single, which peaked at number 43 and was certified gold. At the 2012 ARIA Music Awards, she was nominated for Best Female Artist, Best Pop Release for "Gotcha", and Song of the Year for "Galaxy". 2013–2014: Beautiful, Eurovision and iTunes Session EP Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca", with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland, to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". 2015–2018: The Secret Daughter soundtracks and Eurovision Mauboy performed at the ICC Cricket World Cup opening ceremony held on 12 February 2015 at the Sidney Myer Music Bowl in Melbourne. On 3 May 2015, she appeared on the US Today show in a segment that was filmed live at the Sydney Opera House with host Savannah Guthrie. In an interview with the Australian Associated Press that same month, Mauboy revealed that she had already begun writing songs for her upcoming fourth studio album. She said, "This time around with the album I would like to...just take risks in terms of the sound and identifying who I am as a woman. It's more of a rhythmic pop so it's not going to be extreme pop. It's going to be a little bit more soul." "This Ain't Love", released in September 2015, was originally intended to be the album's lead single; it peaked at number five and was certified gold. Mauboy along with The Veronicas and Tina Arena performed Arena's 1994 single "Chains" at the 2015 ARIA Music Awards, where Arena was inducted into the ARIA Hall of Fame. Their version was released as a single following the performance, and peaked at number 14. In March 2016, Mauboy released the single "Where I'll Stay", which was used to promote the Seven Network's coverage of the 2016 Rio Olympics. Plans for Mauboy's upcoming fourth studio album were put on hold when she released her first individual soundtrack album, The Secret Daughter: Songs from the Original TV Series, on 14 October 2016. The album featured music used in the television series of the same name, in which Mauboy plays the lead role of Billie Carter. The album included five original songs and twelve cover versions of songs by Cold Chisel, Crowded House, The Clash, Roxette, Ed Sheeran and Alex Lloyd, among others. One of the original tracks, "Risk It", was released as the lead single from the soundtrack album. The Secret Daughter: Songs from the Original TV Series became Mauboy's first individual number-one album and also made her the first Indigenous artist to reach number one on the ARIA Albums Chart. Mauboy embarked on her third headlining tour, All the Hits Live – The Australian Tour, in March and April 2017, where she performed songs from the last 10 years of her career. Mauboy's second individual soundtrack album, The Secret Daughter Season Two: Songs from the Original 7 Series, was released on 6 October 2017. The album included two original songs and sixteen covers of songs by The Church, Crowded House, Thirsty Merc, Paul Kelly, Lighthouse Family and Aretha Franklin, among others. Original track "Fallin'" was released as the album's lead single; it peaked at number 11, became Mauboy's sixteenth top-twenty hit, and was certified platinum. The Secret Daughter Season Two: Songs from the Original 7 Series debuted at number two and became Mauboy's fifth top-ten album. She received six nominations at the 2017 ARIA Music Awards, including Best Female Artist and Best Original Soundtrack, Cast or Show Album for The Secret Daughter, Best Australian Live Act, and Song of the Year, Best Pop Release and Best Video for "Fallin'". On 11 December 2017, Mauboy was announced as the Australian representative for the 2018 Eurovision Song Contest in Portugal; becoming the fourth artist to compete for Australia. In May 2018, Mauboy performed the song "We Got Love" which finished in 20th position in the final. 2019–2020: Hilda and Sony depart On 11 April 2019, Mauboy released her new single "Sunday" from her upcoming fourth studio album, Hilda (October 2019). A video for the song was released on 30 April 2019, directed by Nick Waterman and produced by Jo Austin. The album's second single "Little Things" was released on 21 June along with the pre-order for the album. Hilda debuted at number one on the ARIA Albums Chart. In October 2019 "Little Things" was certified as an ARIA platinum single. The same month, "Selfish" impacted Australian radio as the third official single from Hilda. In December 2020, Mauboy left Sony after fourteen years and signed a new record deal with Warner Music Australia, with new music to be released in 2021. 2021: "Glow" On 12 November 2021, Mauboy released "Glow", the first release on Warner Music Australia. Personal life In late 2008, Mauboy moved from Darwin to Sydney, ahead of the release of her debut studio album Been Waiting. In January 2009, she began a long-distance relationship with Themeli "Magoo" Magripilis, a soccer player and council worker of Greek descent, who was born and raised in Darwin. Alt URL Magripilis played for the Darwin soccer league's club Hellenic Athletic, the same club that Mauboy's younger sister Sophia played for. After seven years of long distance dating, Magripilis relocated from Darwin to Sydney in September 2016 and moved in with Mauboy. When she is not working, Mauboy returns to Darwin to spend time with her family. She is an avid fan of NRL side North Queensland Cowboys. Artistry Music and songwriting Mauboy's music is generally R&B and pop, but she also incorporates dance, funk, soul and hip hop into some of her songs. Mauboy's debut studio album Been Waiting (2008) was described as "a blend of electro beats, heartfelt pop tunes and R&B bass lines." Most of the themes on the album dealt with boys, love and break-ups, everyday life, family issues, and friendship. Alasdair Duncan from Rave magazine described Mauboy's second studio album Get 'Em Girls (2010) as "a more hard-edged take on R&B and pop than her debut, pumped full of hip hop beats, jagged synths and futuristic vocal effects." Mauboy said that she wanted each song on the album to talk about a "woman's needs", and that the album's theme was "very much about the empowerment of women and the domination of women." Kylie Northover of The Sydney Morning Herald noted that Mauboy's third studio album Beautiful (2013) featured "a mix of more dance-oriented tunes and her usual R&B sound". Mauboy has also incorporated her Aboriginal heritage into her music, including songs on the soundtrack album for The Sapphires and in the single "Sea of Flags". Aside from her vocals work, Mauboy can also play the piano and has co-written some of her material. She co-wrote eleven songs on her first studio album, nine on her second studio album, and fourteen on her third studio album. In 2010, Mauboy was nominated for Breakthrough Songwriter of the Year at the APRA Awards. Mauboy stated in an interview that while working with American producer Harvey Mason, Jr., they came up with the melodies and hooks for the songs "Fight for You" and "Here for Me" on the album Get 'Em Girls. She also experimented with an operatic-type voice on her song "Scariest Part". Influences Mauboy grew up listening to country singers Patsy Cline, Dolly Parton and Slim Dusty; she credits country music as her first love of music, saying the genre "is who I really, really am deeply." Mauboy also grew up listening to hip-hop rappers Tupac Shakur, Dr. Dre and Snoop Dogg. Mauboy cites Mariah Carey as her main influence and inspiration, stating that she has "drawn a lot of inspiration from watching and listening to her live performances". She grew up listening to many of Carey's songs and was inspired by her vocal style and songwriting, "I loved 'Dreamlover' and 'Fantasy' – and picked up loads of tips from her style of singing. She taught me that the lyrics you write have to come from personal experiences – I really felt her music. Now I aspire to writing honest lyrics with real feelings that people can relate to." Mauboy also names Whitney Houston as another influence, stating that she looks up to her and Carey "for their outstanding vocal performances". Her other musical influences are John Farnham and Beyoncé. Mauboy is also inspired by fellow Indigenous Australian women such as Olympic gold medalist Cathy Freeman and actress Deborah Mailman. Public image Mauboy is known for her good girl image and is considered a role model to young girls and Indigenous communities in Australia. Ed Gibbs of The Sydney Morning Herald described her as a "wholesome girl-next-door", while Holly Richards of New Idea noted that she "is renowned for her squeaky-clean image and family values." Genevieve Rosen of The Vine wrote that Mauboy's "flawless public image is no farce. Humble, genuinely engaging and passionate about public service, Mauboy, put simply, is really nice." Anna Byrne of the Herald Sun observed, "It's clear this endearing unpretentiousness is not a fame facade. In every respect, the pint-sized pop star embodies one of the most elusive qualities of stardom: relatability. It's this genuineness that has seen her star ascend to where she actually is." Fashion has influenced Mauboy's music career and image. Byrne noted that her "fashion choices have mirrored her rise in fame, with her style evolving from shy schoolgirl to confident diva, set to steal the sartorial spotlight." Mauboy cites Jennifer Lopez as her style icon. She has worn dresses designed by Dolce & Gabbana, J'Aton, Steven Khalil and Toni Matičevski, and has appeared on the covers of fashion magazines in Australia, including Elle, InStyle, and Marie Claire. She has also appeared on the cover of Who magazine's Sexiest People issue twice; first in 2012 and again in 2016. Mauboy's weight has been the subject of media interest, ever since her rise to fame on Australian Idol when judge Kyle Sandilands publicly told her to "lose the jelly belly". Mauboy told Women's Health magazine that she was proud of her curvy figure, saying "having curves is one of my favourite things". In 2014, she received media attention for her weight loss transformation from a size 12 to 8. Mauboy has an alter ego named J Malley, who she described as her "fearless side" and "sort of like Beyoncé's Sasha Fierce". Mauboy is often referred to as Australia's answer to Beyoncé. However, she does not agree with the comparisons, saying "I totally disagree with that one. I've...watched her documentary [Life Is But a Dream] and was just blown away by how magnificent she really is and it's so inspiring for me. I just think she's fantastic and I'm completely nowhere near where she is, but I aspire to that." With the release of Mauboy's second studio album Get 'Em Girls, some critics felt that she was becoming an "R&B sexpot". Both the album and its title track also received negative reviews from critics. The music video for the title track was heavily criticised by fans who felt that Mauboy had become too sexy and moved away from her good girl image. Speaking of Mauboy's image for R&B music, Fairfax Media journalist Bernard Zuel said: "It's a problem, matching the personality to a formula. The formula with young women singing modern R&B is that they have to be out there sexually, thrusting physically and vocally. But that's just not who she is." Following the release of her single "Gotcha" in 2012, Miranda Cashin of Sunshine Coast Daily noted that it was "a return to the Mauboy [we knew] before the infamous 2010 sexed-up fist-pumping album, Get 'Em Girls". Other ventures Acting career In January 2010, Mauboy made her acting debut in the film adaptation of the 1990 Aboriginal musical Bran Nue Dae. The film was directed by Rachel Perkins and also starred Ernie Dingo, Geoffrey Rush, Missy Higgins, and Deborah Mailman. In the film, Mauboy played the role of Rosie, a local church singer who has a love interest for a school boy named Willie (played by Rocky McKenzie). Her performance in the film earned her a nomination for Female Actress of the Year at the 2010 Deadly Awards. In November 2010, Mauboy made a guest appearance in the final episode of the mini-series Underbelly: Razor, and played the role of a nightclub singer named Gloria Starr. In 2012, Mauboy had a lead role in The Sapphires, a film based on the stage show of the same name. It was directed by Wayne Blair and also starred Deborah Mailman, Shari Sebbens, and Miranda Tapsell. Mauboy played the role of Julie McCrae, one of the four Indigenous Australian women who travel to Vietnam to sing for the American troops. Mauboy and the cast attended the film's premiere at the 65th Annual Cannes Film Festival in Cannes, France, on 20 May 2012. Upon its release in the US, Mauboy appeared on The Ellen DeGeneres Show on 18 April 2013. Her performance in The Sapphires earned her the AACTA Award for Best Actress in a Supporting Role and the Australian Film Critics Association Award for Best Supporting Actress. In September 2013, Mauboy made a guest appearance as herself in the third and final season of the teen drama Dance Academy. In 2016, Mauboy was cast in the lead role of the television drama series The Secret Daughter, which premiered on the Seven Network on 3 October. It was Mauboy's first major TV role and was written especially for her. She portrayed the role of Billie Carter, a part-time country pub singer whose life changes after coming in contact with a rich hotelier. The role earned Mauboy her first Logie Award nomination for Best Actress, and the show was renewed for a second and final season in 2017. Mauboy guest starred in the 2016 season finale of Home and Away as herself, where she performed at the Summer Bay Groove Festival. Endorsements In 2007, Mauboy appeared in advertisements for the shampoo product, Head & Shoulders. In April 2009, she teamed up with Bloom Cosmetics to create two designer collection nail polishes, which included shades of sangria red and metallic green. Mauboy became the new face of the video game Nintendogs + Cats 3DS in October 2010, and joined forces with RSPCA and Nintendo to help promote the game. She teamed up with clothing label KuKu in December 2010 to launch her five-dress fashion range, which were made available to buy at Myer stores across Australia. In February 2013, Mauboy was announced as the ambassador for the National Rugby League (NRL) and featured in their television advertising campaign singing her cover version of Etta James' "Something's Got a Hold on Me", the theme song for the 2013 NRL season. The following month, Mauboy became the ambassador of the 2013 Woolworths Earn & Learn program, which enables primary and secondary schools in Australia as well as early learning centres to earn educational resources through the school community shopping at Woolworths. She appeared in two television commercials for the program, featuring students from Wulagi Primary School in Darwin. In 2014, Mauboy became the ambassador for the health and wellness company Swisse and appeared in a television commercial for Telstra's commitment to its customers campaign. In May 2015, she became the new face for Target Australia's Womenswear and represented the brand for a year. Mauboy's first fragrance, Be Beautiful, was released on 30 October 2015. The fragrance was developed by Mauboy in partnership with BrandPoint and was inspired by her hometown of Darwin. In February 2017, Mauboy became the ambassador for Foxtel's new Fox League channel dedicated to screening rugby league, and appeared in a television commercial to help launch the channel. Philanthropy Throughout her career, Mauboy has supported various charities in Australia. She is an ambassador for the Sony Foundation, which raises funds for youth-related causes. As an ambassador for the Foundation, Mauboy has made several hospital visits and performed at many of their annual fundraising events such as Wharf4Ward, which raises funds to build specialised youth cancer centres across Australia. In April 2009, sales from the nail polish bottles Mauboy created with Bloom Cosmetics were donated to Children's Hospital Foundations Australia to support the research into childhood illness. Mauboy has performed at several other fundraising events including charity balls, charity dinners, Christmas carols events, and telethons. For many years, Mauboy has performed at the annual Channel Seven Perth Telethon. In December 2011, she performed free acoustic concerts across Australia as part of the Indian Pacific Outback Christmas train journey, an annual fund-raiser for the Royal Flying Doctor Service. On 14 December 2012, she performed a free pop up show at Federation Square in Melbourne, as part of the Optus Carols for a Cause event, which raised funds for Kids Helpline and The Smith Family. Mauboy headlined the Come Together charity concert in Ulverstone, Tasmania on 19 May 2013, in aid of two boys who were burnt in an explosion. All proceeds from the concert went into a trust fund for the boys' ongoing treatment. Mauboy has also contributed to Indigenous organisations aimed at improving children's education. In 2009, she became a spokesperson for the Indigenous Literacy Project (ILP), which aims to provide "books and learning materials to schools, libraries and women's centres in remote areas." As spokesperson for the charity, Mauboy visited schools across Australia and talked to students about the importance of education. In 2011, she worked with the Yalari organisation "that offers children from regional, rural and remote communities and towns across Australia the opportunity to get a first-class secondary education." In 2013, Mauboy was appointed as the ambassador of the independent Aboriginal Yipirinya School in Alice Springs. Along with making several visits to the school, Mauboy has helped promote the school and assist with its fundraisings. In August 2015, she became an ambassador for the Indigenous Literacy Foundation, which raises support and awareness of literacy in remote indigenous communities. Her songs have been included on charity compilation albums such as Bushfire Aid: Artists for the Bushfire Appeal (2009), Spirit of Christmas (2009), and Flood Relief – Artists for the Flood Appeal (2011). Mauboy along with Guy Sebastian, Sheppard, Jon Stevens, Shannon Noll and Megan Washington were featured on Lee Kernaghan's 2015 charity single "Spirit of the Anzacs", which raised funds for Legacy and Soldier On. Television In December 2020, Mauboy was announced to have joined the judging panel of The Voice Australia for its upcoming tenth season to replace Boy George. Discography Been Waiting (2008) Get 'Em Girls (2010) Beautiful (2013) Hilda (2019) Filmography Film Bran Nue Dae (2010) The Sapphires (2012) Television Australian Idol (2006) The Secret Daughter (2016–17) The Voice Australia (2021–Present) The Voice Generations Australia (2022–Present) Music videos and other videography ToursHeadliningGalaxy Tour (with Stan Walker) (2012) To the End of the Earth Tour (2013–14) All the Hits Live – The Australian Tour (2017)Supporting act''' Beyoncé's I Am... World Tour: Australian leg (2009) Chris Brown's F.A.M.E. Tour: Australian leg (2011) See also List of awards and nominations received by Jessica Mauboy References External links 1989 births 21st-century Australian singers 21st-century Australian women singers Actresses from the Northern Territory APRA Award winners ARIA Award winners Australian child singers Australian contemporary R&B singers Australian women pop singers Australian women singer-songwriters Australian film actresses Australian Idol participants Australian people of Indonesian descent Australian singer-songwriters Best Supporting Actress AACTA Award winners Eurovision Song Contest entrants of 2018 Eurovision Song Contest entrants for Australia Indigenous Australian actresses Indigenous Australian musicians Living people Musicians from the Northern Territory People from Darwin, Northern Territory Sony Music Australia artists Young Divas members	true	[ "Planet Colors is the seventh studio album by Swiss singer DJ BoBo, released in 2001. Three singles were released from the album during the same year: \"What a Feeling\", \"Hard to Say I'm Sorry\" and \"Colors of Life\".\n\nThe first single from the album, \"What a Feeling\", features American singer Irene Cara and is a cover version of her 1983 song \"Flashdance... What a Feeling\". It was chosen to be on the album in an online poll on DJ BoBo's official website in May 2000, in which fans were asked which successful 1980s song they would like to be covered for his new album. The single reached No. 2 in Switzerland and No. 3 in Germany. The other two singles failed to enter the top ten in both countries.\n\nTrack listing\n\n \"Let the Party Begin\" – 4:03\n \"What a Feeling\" (with Irene Cara) – 3:46\n \"Hard to Say I'm Sorry\" – 3:57\n \"Man in the Mirror\" – 4:51\n \"Colors of Life\" – 4:03\n \"Moscow\" – 4:15\n \"Say It Again\" – 3:54\n \"Top of the World\" – 4:20\n \"Way to Your Heart\" – 3:50\n \"Tell Me Why\" – 3:41\n \"Dreaming of You\" – 4:13\n \"Time to Turn Off the Light\" – 4:44\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nExternal links\nDiscogs\n\nReferences\n\n2001 albums\nDJ BoBo albums", "The Collection: Beverley Knight is the second compilation album by English singer-songwriter Beverley Knight released via Parlophone on 20 July 2009 after Knight's departure from the record label.\n\nThe album comprises a mixture of previously released singles, some of which were not available on her Voice – The Best of Beverley Knight album, including her only other top 40 single \"Rewind (Find a Way)\". The Collection also contains three previously released B-sides, \"Weekend Thing\", \"What If?\" and \"Special Kinda Cool\", unavailable on any other Beverley Knight album. All songs were recorded throughout her eleven-year contract with Parlophone.\n\nThe versions of \"After You\" and \"Shape of You\" are the original album versions and not those released as singles.\n\nTrack listing\n\n2009 compilation albums\nBeverley Knight albums\nParlophone compilation albums" ]
[ "Jessica Mauboy", "2013-14: Beautiful, Eurovision, and iTunes Session EP", "Was \"Beautiful\" a song or an album?", "third studio album Beautiful", "Was the album a hit?", "it debuted at number three and was certified platinum.", "What were some of the top singles from the album", "The lead single \"To the End of the Earth\" peaked at number 21 and was certified gold," ]	C_a8241246e91444b29e1e042142685892_0	Were there any other hits on this album?	4	Were there any other hits on the album "Beautiful", by Jessica Mauboy other than "To The End Of The Earth?"	Jessica Mauboy	Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca" with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". CANNOTANSWER	Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum.	Jessica Hilda Mauboy (born 4 August 1989) is an Australian singer. Born and raised in Darwin, Northern Territory, she rose to fame in 2006 on the fourth season of Australian Idol, where she was runner-up and subsequently signed a recording contract with Sony Music Australia. After releasing a live album of her Idol performances and briefly being a member of the girl group Young Divas in 2007, Mauboy released her debut studio album, Been Waiting, the following year. It included her first number-one single, "Burn", and became the second highest-selling Australian album of 2009, certified double platinum by the Australian Recording Industry Association (ARIA). Her second studio album, Get 'Em Girls (2010), showcased a harder-edged R&B sound, and produced four platinum singles. Her third studio album, Beautiful (2013), a mixture of dance-oriented tracks, R&B and pop, included the top-ten hits "Pop a Bottle (Fill Me Up)", "Never Be the Same" and "Can I Get a Moment?". Aside from her music career, Mauboy has ventured into acting, with starring roles in the films Bran Nue Dae (2010), and The Sapphires (2012), which earned her the AACTA Award for Best Actress in a Supporting Role. She returned to acting in 2016 in the lead role in the television drama series The Secret Daughter for two seasons. It was her first major TV role and was written especially for her. She released two soundtrack albums from the show, the first of which made her the first Indigenous artist with a number-one album on the ARIA Albums Chart. Her fourth studio album, Hilda (October 2019), debuted at number one. Mauboy is one of Australia's most successful female artists. She has achieved six top-ten albums (including two number-ones) and 16 top-twenty singles (including 9 top-ten hits). She has won two ARIA Music Awards from 25 nominations, and was ranked sixteenth on the Herald Suns list of the "100 Greatest Australian Singers of All Time". She has collaborated with international artists such as Flo Rida, Snoop Dogg, Ludacris, Jay Sean, and Pitbull. She has also toured with Beyoncé and Chris Brown, and performed at many notable events, including the Australian visits for Oprah Winfrey, Ellen DeGeneres, and US President Barack Obama. She was a guest performer at the second semifinal of the Eurovision Song Contest in 2014. She competed for Australia at the 2018 Eurovision Song Contest and reached 20th place. Early life Mauboy was born 4 August 1989 and raised in Darwin, Northern Territory. Her father, Ferdy, is an Indonesian-born electrician from West Timor. Her mother, Therese, is an Indigenous Australian from the Kuku Yalanji people of the rainforest regions of Far North Queensland. Mauboy has three older sisters, Sandra, Jenny and Catherine; and a younger sister, Sophia. From an early age, she was involved in the local church choir with her grandmother Harriett. Her home was described as the "noisiest house on the block", with her mother often singing, her father playing guitar and the rest of the family displaying their passion for music. She attended Wulagi Primary School and Sanderson High School in Darwin. She dropped out of school in year 11. At age fourteen, Mauboy's talents were exposed through the Telstra Road to Tamworth competition at the 2004 Tamworth Country Music Festival in Tamworth, New South Wales. As the first winner of the competition, she travelled to Sydney to perform and scored a recording deal with Sony Music Australia. She released a country-inspired rendition of the Cyndi Lauper hit "Girls Just Wanna Have Fun". A video of the song was produced and released, but the song was unsuccessful and Mauboy returned to Darwin. Music career 2006: Australian Idol In 2006, Mauboy auditioned for the fourth season of Australian Idol in Alice Springs, Northern Territory, singing Whitney Houston's "I Have Nothing". Her audition impressed all three judges, and she progressed to the semifinals, then to the top twelve. The media cited her previous Sony contract as grounds for dismissal, but since it had expired, the producers refused to remove her from the show. In the final eleven week, following her rendition of Kelly Clarkson's "Walk Away", judge Kyle Sandilands commented on Mauboy's weight, and said that if she wanted to succeed in the music industry, she should "lose the jelly belly". Mauboy appeared stunned by the comment. In an interview with Who magazine's Alicia Neil, two years after the comment, Mauboy said, "I kind of took it as a joke... I look back on it as a positive thing–it made me a stronger person." In the final ten-week, Mauboy received the first touchdown of the season from judge Mark Holden for her rendition of Christina Aguilera's hit "Beautiful". During the final nine-week, she had a sore throat that resulted in a mediocre rendition of Phil Collins' "Another Day in Paradise" and near-elimination, landing her in the bottom three. She never landed in the bottom three again, and ended up progressing to the final show with Damien Leith. At the grand finale on 27 November at the Sydney Opera House, Mauboy was voted runner-up to Leith. In December 2006, she signed a recording contract with Sony Music Australia, two weeks after Idol ended. 2007–2009: The Journey, Young Divas and Been Waiting Mauboy released her debut live album The Journey on 24 February 2007, which contained two discs. Disc one contained re-recorded covers of the selected songs Mauboy performed as part of the top twelve on Australian Idol, while disc two included a DVD of her performances on the series. The Journey debuted at number four on the ARIA Albums Chart and was certified gold by the Australian Recording Industry Association for shipments of 35,000 units. In September 2007, Mauboy joined as the new member of the girl group Young Divas, replacing one of the group's original members, Ricki-Lee Coulter, who had left in June to resume her solo career. Their second studio album New Attitude was released on 24 November 2007, and debuted at number 10 and was certified gold. The album was preceded by the lead single "Turn Me Loose", which peaked at number 15 on the ARIA Singles Chart. In March 2008, Mauboy signed on to the Australian Government In2Oz program, designed to promote closer ties with Indonesia. As a part of the program, she travelled to Indonesia for a three-day trip performing around the country, including an appearance on Indonesian Idol. It was during this time that Mauboy had begun to work on her first solo studio album. In August 2008, Mauboy announced that after a year with the Young Divas, she had decided to quit in order to concentrate on her solo career. Founding member Paulini had also decided to depart, leaving Kate DeAraugo and Emily Williams as the only remaining members. However, both DeAraugo and Williams resumed their solo careers, and the group officially disbanded. Mauboy's debut studio album Been Waiting was released on 22 November 2008; it peaked at number 11 and was certified double platinum for shipments of 140,000 units. Mauboy co-wrote eleven of the album's songs, which were produced by Audius Mtawarira, Israel Cruz, Jonas Jeberg, Cutfather, Adam Reily, Fingaz and Kwamé. The album received positive reviews from critics. Davey Boy of Sputnikmusic gave the album three out of five stars and wrote that it was an "impressive debut which suggests that there could indeed be quality music to look forward to in the future, as she matures and gains experience". The lead single "Running Back", featuring American rapper Flo Rida, peaked at number three and was certified double platinum. The second single, "Burn", became Mauboy's first number-one single, and was certified platinum. It also reached number 92 on the Japan Hot 100 and became Mauboy's first single to chart internationally. The album's third single and title track peaked at number 12 and was certified gold. The following singles, "Because" and "Up/Down", peaked at numbers nine and 11, respectively, and both were certified gold. In February 2009, Mauboy signed with UK record label Ministry of Sound. Been Waiting was released in Japan on 22 April 2009, and reached number 138 on the Japanese Albums Chart. At the 2009 Deadly Awards, Mauboy won three awards in the categories of Female Artist of the Year, Album of the Year for Been Waiting, and Single Release of the Year for "Burn". Along with Flo Rida, Mauboy served as a support act for Beyoncé on the Australian leg of her I Am... World Tour in September 2009. At the 2009 ARIA Music Awards, Mauboy earned seven nominations for Been Waiting and its singles; she was nominated for Highest Selling Album, Best Pop Release, Breakthrough Artist Album, Best Female Artist, Breakthrough Artist Single for "Running Back", and Highest Selling Single for "Running Back" and "Burn". Eventually, Mauboy won Highest Selling Single for "Running Back". 2010–2012: Get 'Em Girls and The Sapphires soundtrack In January 2010, Mauboy signed to Universal Music for an exclusive worldwide long-term publishing agreement. In May 2010, Mauboy collaborated with four other international artists representing their continents—Sean Kingston representing America, Jody Williams representing Africa, Tabitha Nauser (Asia), Steve Appleton (Europe), with Mauboy representing Oceania—on the theme song for the 2010 Summer Youth Olympics titled "Everyone". Mauboy, Williams, Nauser and Appleton performed "Everyone" at the opening of the Youth Olympics held in Singapore on 14 August 2010. Kingston was unable to attend the performance, due to a passport mix-up. Mauboy released her second studio album Get 'Em Girls on 5 November 2010; it debuted at number six and was certified gold. She had travelled to the United States in February of that year to work on the album in Los Angeles, New York, and Atlanta with American songwriters and producers, most of whom she had not worked with previously. Mauboy co-wrote eight of the album's songs. Get 'Em Girls received mixed reviews from critics. Majhid Heath of ABC Online Indigenous gave the album two-and-a-half out of five stars, writing that it's a "non-cohesive mess of similar sounding, auto-tuned ravaged pop/R&B that diminishes the talent of this brilliant young songstress". The album's title track, featuring American rapper Snoop Dogg, peaked at number 19. Mauboy performed "Get 'Em Girls" at the 2010 Nickelodeon Australian Kids' Choice Awards, where she co-hosted the award ceremony with Liam Hemsworth and Jerry Trainor, and won the award for Fave Aussie Muso. The following singles, "Saturday Night" featuring American rapper Ludacris and "What Happened to Us" featuring English singer Jay Sean, peaked at numbers seven and 14, respectively. The former single was certified double platinum while the latter was only certified platinum. At the 2010 Australian of the Year Awards, Mauboy received her first nomination for Young Australian of the Year. On 10 December 2010, she performed in front of an audience of 92,000 at the Federation Square in Melbourne, ahead of Oprah Winfrey's visit to the place. Mauboy's performance was shown in the first of the four Australian specials of The Oprah Winfrey Show on 18 January 2011. In April 2011, she served as a support act for Chris Brown's Australian leg of his F.A.M.E. Tour. Get 'Em Girls was re-released as a deluxe edition on 12 August 2011, which included the singles "Inescapable" and "Galaxy" featuring Stan Walker. The former single peaked at number four and was certified double platinum, while the latter peaked at number 13 and was certified platinum. "Galaxy" also reached number 36 on the New Zealand Singles Chart and became Mauboy's first single to chart in that country. On 17 November 2011, Mauboy performed for the Australian troops at RAAF Base Darwin, ahead of US President Barack Obama's visit to the place. In January 2012, Mauboy and Walker embarked on their Galaxy Tour across Australia, which served as her first headlining tour. Mauboy recorded 15 songs for [[The Sapphires (soundtrack)\|''The Sapphires soundtrack album]], which was released on 27 July 2012. The album debuted at number one and was certified platinum. Mauboy released "Gotcha" as the album's lead single, which peaked at number 43 and was certified gold. At the 2012 ARIA Music Awards, she was nominated for Best Female Artist, Best Pop Release for "Gotcha", and Song of the Year for "Galaxy". 2013–2014: Beautiful, Eurovision and iTunes Session EP Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca", with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland, to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". 2015–2018: The Secret Daughter soundtracks and Eurovision Mauboy performed at the ICC Cricket World Cup opening ceremony held on 12 February 2015 at the Sidney Myer Music Bowl in Melbourne. On 3 May 2015, she appeared on the US Today show in a segment that was filmed live at the Sydney Opera House with host Savannah Guthrie. In an interview with the Australian Associated Press that same month, Mauboy revealed that she had already begun writing songs for her upcoming fourth studio album. She said, "This time around with the album I would like to...just take risks in terms of the sound and identifying who I am as a woman. It's more of a rhythmic pop so it's not going to be extreme pop. It's going to be a little bit more soul." "This Ain't Love", released in September 2015, was originally intended to be the album's lead single; it peaked at number five and was certified gold. Mauboy along with The Veronicas and Tina Arena performed Arena's 1994 single "Chains" at the 2015 ARIA Music Awards, where Arena was inducted into the ARIA Hall of Fame. Their version was released as a single following the performance, and peaked at number 14. In March 2016, Mauboy released the single "Where I'll Stay", which was used to promote the Seven Network's coverage of the 2016 Rio Olympics. Plans for Mauboy's upcoming fourth studio album were put on hold when she released her first individual soundtrack album, The Secret Daughter: Songs from the Original TV Series, on 14 October 2016. The album featured music used in the television series of the same name, in which Mauboy plays the lead role of Billie Carter. The album included five original songs and twelve cover versions of songs by Cold Chisel, Crowded House, The Clash, Roxette, Ed Sheeran and Alex Lloyd, among others. One of the original tracks, "Risk It", was released as the lead single from the soundtrack album. The Secret Daughter: Songs from the Original TV Series became Mauboy's first individual number-one album and also made her the first Indigenous artist to reach number one on the ARIA Albums Chart. Mauboy embarked on her third headlining tour, All the Hits Live – The Australian Tour, in March and April 2017, where she performed songs from the last 10 years of her career. Mauboy's second individual soundtrack album, The Secret Daughter Season Two: Songs from the Original 7 Series, was released on 6 October 2017. The album included two original songs and sixteen covers of songs by The Church, Crowded House, Thirsty Merc, Paul Kelly, Lighthouse Family and Aretha Franklin, among others. Original track "Fallin'" was released as the album's lead single; it peaked at number 11, became Mauboy's sixteenth top-twenty hit, and was certified platinum. The Secret Daughter Season Two: Songs from the Original 7 Series debuted at number two and became Mauboy's fifth top-ten album. She received six nominations at the 2017 ARIA Music Awards, including Best Female Artist and Best Original Soundtrack, Cast or Show Album for The Secret Daughter, Best Australian Live Act, and Song of the Year, Best Pop Release and Best Video for "Fallin'". On 11 December 2017, Mauboy was announced as the Australian representative for the 2018 Eurovision Song Contest in Portugal; becoming the fourth artist to compete for Australia. In May 2018, Mauboy performed the song "We Got Love" which finished in 20th position in the final. 2019–2020: Hilda and Sony depart On 11 April 2019, Mauboy released her new single "Sunday" from her upcoming fourth studio album, Hilda (October 2019). A video for the song was released on 30 April 2019, directed by Nick Waterman and produced by Jo Austin. The album's second single "Little Things" was released on 21 June along with the pre-order for the album. Hilda debuted at number one on the ARIA Albums Chart. In October 2019 "Little Things" was certified as an ARIA platinum single. The same month, "Selfish" impacted Australian radio as the third official single from Hilda. In December 2020, Mauboy left Sony after fourteen years and signed a new record deal with Warner Music Australia, with new music to be released in 2021. 2021: "Glow" On 12 November 2021, Mauboy released "Glow", the first release on Warner Music Australia. Personal life In late 2008, Mauboy moved from Darwin to Sydney, ahead of the release of her debut studio album Been Waiting. In January 2009, she began a long-distance relationship with Themeli "Magoo" Magripilis, a soccer player and council worker of Greek descent, who was born and raised in Darwin. Alt URL Magripilis played for the Darwin soccer league's club Hellenic Athletic, the same club that Mauboy's younger sister Sophia played for. After seven years of long distance dating, Magripilis relocated from Darwin to Sydney in September 2016 and moved in with Mauboy. When she is not working, Mauboy returns to Darwin to spend time with her family. She is an avid fan of NRL side North Queensland Cowboys. Artistry Music and songwriting Mauboy's music is generally R&B and pop, but she also incorporates dance, funk, soul and hip hop into some of her songs. Mauboy's debut studio album Been Waiting (2008) was described as "a blend of electro beats, heartfelt pop tunes and R&B bass lines." Most of the themes on the album dealt with boys, love and break-ups, everyday life, family issues, and friendship. Alasdair Duncan from Rave magazine described Mauboy's second studio album Get 'Em Girls (2010) as "a more hard-edged take on R&B and pop than her debut, pumped full of hip hop beats, jagged synths and futuristic vocal effects." Mauboy said that she wanted each song on the album to talk about a "woman's needs", and that the album's theme was "very much about the empowerment of women and the domination of women." Kylie Northover of The Sydney Morning Herald noted that Mauboy's third studio album Beautiful (2013) featured "a mix of more dance-oriented tunes and her usual R&B sound". Mauboy has also incorporated her Aboriginal heritage into her music, including songs on the soundtrack album for The Sapphires and in the single "Sea of Flags". Aside from her vocals work, Mauboy can also play the piano and has co-written some of her material. She co-wrote eleven songs on her first studio album, nine on her second studio album, and fourteen on her third studio album. In 2010, Mauboy was nominated for Breakthrough Songwriter of the Year at the APRA Awards. Mauboy stated in an interview that while working with American producer Harvey Mason, Jr., they came up with the melodies and hooks for the songs "Fight for You" and "Here for Me" on the album Get 'Em Girls. She also experimented with an operatic-type voice on her song "Scariest Part". Influences Mauboy grew up listening to country singers Patsy Cline, Dolly Parton and Slim Dusty; she credits country music as her first love of music, saying the genre "is who I really, really am deeply." Mauboy also grew up listening to hip-hop rappers Tupac Shakur, Dr. Dre and Snoop Dogg. Mauboy cites Mariah Carey as her main influence and inspiration, stating that she has "drawn a lot of inspiration from watching and listening to her live performances". She grew up listening to many of Carey's songs and was inspired by her vocal style and songwriting, "I loved 'Dreamlover' and 'Fantasy' – and picked up loads of tips from her style of singing. She taught me that the lyrics you write have to come from personal experiences – I really felt her music. Now I aspire to writing honest lyrics with real feelings that people can relate to." Mauboy also names Whitney Houston as another influence, stating that she looks up to her and Carey "for their outstanding vocal performances". Her other musical influences are John Farnham and Beyoncé. Mauboy is also inspired by fellow Indigenous Australian women such as Olympic gold medalist Cathy Freeman and actress Deborah Mailman. Public image Mauboy is known for her good girl image and is considered a role model to young girls and Indigenous communities in Australia. Ed Gibbs of The Sydney Morning Herald described her as a "wholesome girl-next-door", while Holly Richards of New Idea noted that she "is renowned for her squeaky-clean image and family values." Genevieve Rosen of The Vine wrote that Mauboy's "flawless public image is no farce. Humble, genuinely engaging and passionate about public service, Mauboy, put simply, is really nice." Anna Byrne of the Herald Sun observed, "It's clear this endearing unpretentiousness is not a fame facade. In every respect, the pint-sized pop star embodies one of the most elusive qualities of stardom: relatability. It's this genuineness that has seen her star ascend to where she actually is." Fashion has influenced Mauboy's music career and image. Byrne noted that her "fashion choices have mirrored her rise in fame, with her style evolving from shy schoolgirl to confident diva, set to steal the sartorial spotlight." Mauboy cites Jennifer Lopez as her style icon. She has worn dresses designed by Dolce & Gabbana, J'Aton, Steven Khalil and Toni Matičevski, and has appeared on the covers of fashion magazines in Australia, including Elle, InStyle, and Marie Claire. She has also appeared on the cover of Who magazine's Sexiest People issue twice; first in 2012 and again in 2016. Mauboy's weight has been the subject of media interest, ever since her rise to fame on Australian Idol when judge Kyle Sandilands publicly told her to "lose the jelly belly". Mauboy told Women's Health magazine that she was proud of her curvy figure, saying "having curves is one of my favourite things". In 2014, she received media attention for her weight loss transformation from a size 12 to 8. Mauboy has an alter ego named J Malley, who she described as her "fearless side" and "sort of like Beyoncé's Sasha Fierce". Mauboy is often referred to as Australia's answer to Beyoncé. However, she does not agree with the comparisons, saying "I totally disagree with that one. I've...watched her documentary [Life Is But a Dream] and was just blown away by how magnificent she really is and it's so inspiring for me. I just think she's fantastic and I'm completely nowhere near where she is, but I aspire to that." With the release of Mauboy's second studio album Get 'Em Girls, some critics felt that she was becoming an "R&B sexpot". Both the album and its title track also received negative reviews from critics. The music video for the title track was heavily criticised by fans who felt that Mauboy had become too sexy and moved away from her good girl image. Speaking of Mauboy's image for R&B music, Fairfax Media journalist Bernard Zuel said: "It's a problem, matching the personality to a formula. The formula with young women singing modern R&B is that they have to be out there sexually, thrusting physically and vocally. But that's just not who she is." Following the release of her single "Gotcha" in 2012, Miranda Cashin of Sunshine Coast Daily noted that it was "a return to the Mauboy [we knew] before the infamous 2010 sexed-up fist-pumping album, Get 'Em Girls". Other ventures Acting career In January 2010, Mauboy made her acting debut in the film adaptation of the 1990 Aboriginal musical Bran Nue Dae. The film was directed by Rachel Perkins and also starred Ernie Dingo, Geoffrey Rush, Missy Higgins, and Deborah Mailman. In the film, Mauboy played the role of Rosie, a local church singer who has a love interest for a school boy named Willie (played by Rocky McKenzie). Her performance in the film earned her a nomination for Female Actress of the Year at the 2010 Deadly Awards. In November 2010, Mauboy made a guest appearance in the final episode of the mini-series Underbelly: Razor, and played the role of a nightclub singer named Gloria Starr. In 2012, Mauboy had a lead role in The Sapphires, a film based on the stage show of the same name. It was directed by Wayne Blair and also starred Deborah Mailman, Shari Sebbens, and Miranda Tapsell. Mauboy played the role of Julie McCrae, one of the four Indigenous Australian women who travel to Vietnam to sing for the American troops. Mauboy and the cast attended the film's premiere at the 65th Annual Cannes Film Festival in Cannes, France, on 20 May 2012. Upon its release in the US, Mauboy appeared on The Ellen DeGeneres Show on 18 April 2013. Her performance in The Sapphires earned her the AACTA Award for Best Actress in a Supporting Role and the Australian Film Critics Association Award for Best Supporting Actress. In September 2013, Mauboy made a guest appearance as herself in the third and final season of the teen drama Dance Academy. In 2016, Mauboy was cast in the lead role of the television drama series The Secret Daughter, which premiered on the Seven Network on 3 October. It was Mauboy's first major TV role and was written especially for her. She portrayed the role of Billie Carter, a part-time country pub singer whose life changes after coming in contact with a rich hotelier. The role earned Mauboy her first Logie Award nomination for Best Actress, and the show was renewed for a second and final season in 2017. Mauboy guest starred in the 2016 season finale of Home and Away as herself, where she performed at the Summer Bay Groove Festival. Endorsements In 2007, Mauboy appeared in advertisements for the shampoo product, Head & Shoulders. In April 2009, she teamed up with Bloom Cosmetics to create two designer collection nail polishes, which included shades of sangria red and metallic green. Mauboy became the new face of the video game Nintendogs + Cats 3DS in October 2010, and joined forces with RSPCA and Nintendo to help promote the game. She teamed up with clothing label KuKu in December 2010 to launch her five-dress fashion range, which were made available to buy at Myer stores across Australia. In February 2013, Mauboy was announced as the ambassador for the National Rugby League (NRL) and featured in their television advertising campaign singing her cover version of Etta James' "Something's Got a Hold on Me", the theme song for the 2013 NRL season. The following month, Mauboy became the ambassador of the 2013 Woolworths Earn & Learn program, which enables primary and secondary schools in Australia as well as early learning centres to earn educational resources through the school community shopping at Woolworths. She appeared in two television commercials for the program, featuring students from Wulagi Primary School in Darwin. In 2014, Mauboy became the ambassador for the health and wellness company Swisse and appeared in a television commercial for Telstra's commitment to its customers campaign. In May 2015, she became the new face for Target Australia's Womenswear and represented the brand for a year. Mauboy's first fragrance, Be Beautiful, was released on 30 October 2015. The fragrance was developed by Mauboy in partnership with BrandPoint and was inspired by her hometown of Darwin. In February 2017, Mauboy became the ambassador for Foxtel's new Fox League channel dedicated to screening rugby league, and appeared in a television commercial to help launch the channel. Philanthropy Throughout her career, Mauboy has supported various charities in Australia. She is an ambassador for the Sony Foundation, which raises funds for youth-related causes. As an ambassador for the Foundation, Mauboy has made several hospital visits and performed at many of their annual fundraising events such as Wharf4Ward, which raises funds to build specialised youth cancer centres across Australia. In April 2009, sales from the nail polish bottles Mauboy created with Bloom Cosmetics were donated to Children's Hospital Foundations Australia to support the research into childhood illness. Mauboy has performed at several other fundraising events including charity balls, charity dinners, Christmas carols events, and telethons. For many years, Mauboy has performed at the annual Channel Seven Perth Telethon. In December 2011, she performed free acoustic concerts across Australia as part of the Indian Pacific Outback Christmas train journey, an annual fund-raiser for the Royal Flying Doctor Service. On 14 December 2012, she performed a free pop up show at Federation Square in Melbourne, as part of the Optus Carols for a Cause event, which raised funds for Kids Helpline and The Smith Family. Mauboy headlined the Come Together charity concert in Ulverstone, Tasmania on 19 May 2013, in aid of two boys who were burnt in an explosion. All proceeds from the concert went into a trust fund for the boys' ongoing treatment. Mauboy has also contributed to Indigenous organisations aimed at improving children's education. In 2009, she became a spokesperson for the Indigenous Literacy Project (ILP), which aims to provide "books and learning materials to schools, libraries and women's centres in remote areas." As spokesperson for the charity, Mauboy visited schools across Australia and talked to students about the importance of education. In 2011, she worked with the Yalari organisation "that offers children from regional, rural and remote communities and towns across Australia the opportunity to get a first-class secondary education." In 2013, Mauboy was appointed as the ambassador of the independent Aboriginal Yipirinya School in Alice Springs. Along with making several visits to the school, Mauboy has helped promote the school and assist with its fundraisings. In August 2015, she became an ambassador for the Indigenous Literacy Foundation, which raises support and awareness of literacy in remote indigenous communities. Her songs have been included on charity compilation albums such as Bushfire Aid: Artists for the Bushfire Appeal (2009), Spirit of Christmas (2009), and Flood Relief – Artists for the Flood Appeal (2011). Mauboy along with Guy Sebastian, Sheppard, Jon Stevens, Shannon Noll and Megan Washington were featured on Lee Kernaghan's 2015 charity single "Spirit of the Anzacs", which raised funds for Legacy and Soldier On. Television In December 2020, Mauboy was announced to have joined the judging panel of The Voice Australia for its upcoming tenth season to replace Boy George. Discography Been Waiting (2008) Get 'Em Girls (2010) Beautiful (2013) Hilda (2019) Filmography Film Bran Nue Dae (2010) The Sapphires (2012) Television Australian Idol (2006) The Secret Daughter (2016–17) The Voice Australia (2021–Present) The Voice Generations Australia (2022–Present) Music videos and other videography ToursHeadliningGalaxy Tour (with Stan Walker) (2012) To the End of the Earth Tour (2013–14) All the Hits Live – The Australian Tour (2017)Supporting act''' Beyoncé's I Am... World Tour: Australian leg (2009) Chris Brown's F.A.M.E. Tour: Australian leg (2011) See also List of awards and nominations received by Jessica Mauboy References External links 1989 births 21st-century Australian singers 21st-century Australian women singers Actresses from the Northern Territory APRA Award winners ARIA Award winners Australian child singers Australian contemporary R&B singers Australian women pop singers Australian women singer-songwriters Australian film actresses Australian Idol participants Australian people of Indonesian descent Australian singer-songwriters Best Supporting Actress AACTA Award winners Eurovision Song Contest entrants of 2018 Eurovision Song Contest entrants for Australia Indigenous Australian actresses Indigenous Australian musicians Living people Musicians from the Northern Territory People from Darwin, Northern Territory Sony Music Australia artists Young Divas members	true	[ "Greatest Hits is a 1988 compilation album by Kenny Rogers.\n\nAll of the tracks on the album were selected from his various recordings for RCA Nashville between 1983–87. There is one track that was not originally a single called \"She's Ready for Someone to Love Her\", which makes fully half of this greatest hits track list identical to the most recent 1987 album I Prefer the Moonlight.\n\nOne single that is notably missing is \"Tomb of the Unknown Love\" from 1985's The Heart of the Matter. The song was a #1 single in both the US and Canada. Also missing is Rogers' 1986 single \"The Pride is Back\" which made #30 on the US Billboard AC chart, it had not yet been released on any album. \"I Don't Call Him Daddy\" was released as a single in support of this album, but with little promotion it peaked at #86 on the country chart.\n\nTrack listing\n\nChart performance\n\n1988 greatest hits albums\nKenny Rogers compilation albums\nRCA Records compilation albums", "Ruff Rhymes: Greatest Hits Collection is a greatest hits album by West Coast hip hop artist King Tee. It was released by Capitol Records in 1998, three years after King Tee's last album. It contains tracks from each of King Tee's first three albums, all of which were released by Capitol Records. It contains no tracks from Tee's fourth album, IV Life, which was released on MCA Records. King Tee was dropped by Capitol before this album's release so he had no say in which tracks would be put on it. Only three tracks on this compilation, \"Bass\", \"Ya Better Bring a Gun\", and \"Can This Be Real?\", are not on any of King Tee's other albums. The compilation's name is a reference to King Tee's most successful charting song, \"Ruff Rhyme (Back Again)\".\n\nTrack listing\n\nReferences\n\n1998 greatest hits albums\nKing Tee albums\nAlbums produced by Marley Marl\nAlbums produced by DJ Pooh" ]
[ "Jessica Mauboy", "2013-14: Beautiful, Eurovision, and iTunes Session EP", "Was \"Beautiful\" a song or an album?", "third studio album Beautiful", "Was the album a hit?", "it debuted at number three and was certified platinum.", "What were some of the top singles from the album", "The lead single \"To the End of the Earth\" peaked at number 21 and was certified gold,", "Were there any other hits on this album?", "Pop a Bottle (Fill Me Up)\" debuted at number two and was certified platinum." ]	C_a8241246e91444b29e1e042142685892_0	How many hits did the album ultimately produce?	5	How many hits did the album "Beautiful" by Jessica Mauboy ultimately produce?	Jessica Mauboy	Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca" with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". CANNOTANSWER	"Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same",	Jessica Hilda Mauboy (born 4 August 1989) is an Australian singer. Born and raised in Darwin, Northern Territory, she rose to fame in 2006 on the fourth season of Australian Idol, where she was runner-up and subsequently signed a recording contract with Sony Music Australia. After releasing a live album of her Idol performances and briefly being a member of the girl group Young Divas in 2007, Mauboy released her debut studio album, Been Waiting, the following year. It included her first number-one single, "Burn", and became the second highest-selling Australian album of 2009, certified double platinum by the Australian Recording Industry Association (ARIA). Her second studio album, Get 'Em Girls (2010), showcased a harder-edged R&B sound, and produced four platinum singles. Her third studio album, Beautiful (2013), a mixture of dance-oriented tracks, R&B and pop, included the top-ten hits "Pop a Bottle (Fill Me Up)", "Never Be the Same" and "Can I Get a Moment?". Aside from her music career, Mauboy has ventured into acting, with starring roles in the films Bran Nue Dae (2010), and The Sapphires (2012), which earned her the AACTA Award for Best Actress in a Supporting Role. She returned to acting in 2016 in the lead role in the television drama series The Secret Daughter for two seasons. It was her first major TV role and was written especially for her. She released two soundtrack albums from the show, the first of which made her the first Indigenous artist with a number-one album on the ARIA Albums Chart. Her fourth studio album, Hilda (October 2019), debuted at number one. Mauboy is one of Australia's most successful female artists. She has achieved six top-ten albums (including two number-ones) and 16 top-twenty singles (including 9 top-ten hits). She has won two ARIA Music Awards from 25 nominations, and was ranked sixteenth on the Herald Suns list of the "100 Greatest Australian Singers of All Time". She has collaborated with international artists such as Flo Rida, Snoop Dogg, Ludacris, Jay Sean, and Pitbull. She has also toured with Beyoncé and Chris Brown, and performed at many notable events, including the Australian visits for Oprah Winfrey, Ellen DeGeneres, and US President Barack Obama. She was a guest performer at the second semifinal of the Eurovision Song Contest in 2014. She competed for Australia at the 2018 Eurovision Song Contest and reached 20th place. Early life Mauboy was born 4 August 1989 and raised in Darwin, Northern Territory. Her father, Ferdy, is an Indonesian-born electrician from West Timor. Her mother, Therese, is an Indigenous Australian from the Kuku Yalanji people of the rainforest regions of Far North Queensland. Mauboy has three older sisters, Sandra, Jenny and Catherine; and a younger sister, Sophia. From an early age, she was involved in the local church choir with her grandmother Harriett. Her home was described as the "noisiest house on the block", with her mother often singing, her father playing guitar and the rest of the family displaying their passion for music. She attended Wulagi Primary School and Sanderson High School in Darwin. She dropped out of school in year 11. At age fourteen, Mauboy's talents were exposed through the Telstra Road to Tamworth competition at the 2004 Tamworth Country Music Festival in Tamworth, New South Wales. As the first winner of the competition, she travelled to Sydney to perform and scored a recording deal with Sony Music Australia. She released a country-inspired rendition of the Cyndi Lauper hit "Girls Just Wanna Have Fun". A video of the song was produced and released, but the song was unsuccessful and Mauboy returned to Darwin. Music career 2006: Australian Idol In 2006, Mauboy auditioned for the fourth season of Australian Idol in Alice Springs, Northern Territory, singing Whitney Houston's "I Have Nothing". Her audition impressed all three judges, and she progressed to the semifinals, then to the top twelve. The media cited her previous Sony contract as grounds for dismissal, but since it had expired, the producers refused to remove her from the show. In the final eleven week, following her rendition of Kelly Clarkson's "Walk Away", judge Kyle Sandilands commented on Mauboy's weight, and said that if she wanted to succeed in the music industry, she should "lose the jelly belly". Mauboy appeared stunned by the comment. In an interview with Who magazine's Alicia Neil, two years after the comment, Mauboy said, "I kind of took it as a joke... I look back on it as a positive thing–it made me a stronger person." In the final ten-week, Mauboy received the first touchdown of the season from judge Mark Holden for her rendition of Christina Aguilera's hit "Beautiful". During the final nine-week, she had a sore throat that resulted in a mediocre rendition of Phil Collins' "Another Day in Paradise" and near-elimination, landing her in the bottom three. She never landed in the bottom three again, and ended up progressing to the final show with Damien Leith. At the grand finale on 27 November at the Sydney Opera House, Mauboy was voted runner-up to Leith. In December 2006, she signed a recording contract with Sony Music Australia, two weeks after Idol ended. 2007–2009: The Journey, Young Divas and Been Waiting Mauboy released her debut live album The Journey on 24 February 2007, which contained two discs. Disc one contained re-recorded covers of the selected songs Mauboy performed as part of the top twelve on Australian Idol, while disc two included a DVD of her performances on the series. The Journey debuted at number four on the ARIA Albums Chart and was certified gold by the Australian Recording Industry Association for shipments of 35,000 units. In September 2007, Mauboy joined as the new member of the girl group Young Divas, replacing one of the group's original members, Ricki-Lee Coulter, who had left in June to resume her solo career. Their second studio album New Attitude was released on 24 November 2007, and debuted at number 10 and was certified gold. The album was preceded by the lead single "Turn Me Loose", which peaked at number 15 on the ARIA Singles Chart. In March 2008, Mauboy signed on to the Australian Government In2Oz program, designed to promote closer ties with Indonesia. As a part of the program, she travelled to Indonesia for a three-day trip performing around the country, including an appearance on Indonesian Idol. It was during this time that Mauboy had begun to work on her first solo studio album. In August 2008, Mauboy announced that after a year with the Young Divas, she had decided to quit in order to concentrate on her solo career. Founding member Paulini had also decided to depart, leaving Kate DeAraugo and Emily Williams as the only remaining members. However, both DeAraugo and Williams resumed their solo careers, and the group officially disbanded. Mauboy's debut studio album Been Waiting was released on 22 November 2008; it peaked at number 11 and was certified double platinum for shipments of 140,000 units. Mauboy co-wrote eleven of the album's songs, which were produced by Audius Mtawarira, Israel Cruz, Jonas Jeberg, Cutfather, Adam Reily, Fingaz and Kwamé. The album received positive reviews from critics. Davey Boy of Sputnikmusic gave the album three out of five stars and wrote that it was an "impressive debut which suggests that there could indeed be quality music to look forward to in the future, as she matures and gains experience". The lead single "Running Back", featuring American rapper Flo Rida, peaked at number three and was certified double platinum. The second single, "Burn", became Mauboy's first number-one single, and was certified platinum. It also reached number 92 on the Japan Hot 100 and became Mauboy's first single to chart internationally. The album's third single and title track peaked at number 12 and was certified gold. The following singles, "Because" and "Up/Down", peaked at numbers nine and 11, respectively, and both were certified gold. In February 2009, Mauboy signed with UK record label Ministry of Sound. Been Waiting was released in Japan on 22 April 2009, and reached number 138 on the Japanese Albums Chart. At the 2009 Deadly Awards, Mauboy won three awards in the categories of Female Artist of the Year, Album of the Year for Been Waiting, and Single Release of the Year for "Burn". Along with Flo Rida, Mauboy served as a support act for Beyoncé on the Australian leg of her I Am... World Tour in September 2009. At the 2009 ARIA Music Awards, Mauboy earned seven nominations for Been Waiting and its singles; she was nominated for Highest Selling Album, Best Pop Release, Breakthrough Artist Album, Best Female Artist, Breakthrough Artist Single for "Running Back", and Highest Selling Single for "Running Back" and "Burn". Eventually, Mauboy won Highest Selling Single for "Running Back". 2010–2012: Get 'Em Girls and The Sapphires soundtrack In January 2010, Mauboy signed to Universal Music for an exclusive worldwide long-term publishing agreement. In May 2010, Mauboy collaborated with four other international artists representing their continents—Sean Kingston representing America, Jody Williams representing Africa, Tabitha Nauser (Asia), Steve Appleton (Europe), with Mauboy representing Oceania—on the theme song for the 2010 Summer Youth Olympics titled "Everyone". Mauboy, Williams, Nauser and Appleton performed "Everyone" at the opening of the Youth Olympics held in Singapore on 14 August 2010. Kingston was unable to attend the performance, due to a passport mix-up. Mauboy released her second studio album Get 'Em Girls on 5 November 2010; it debuted at number six and was certified gold. She had travelled to the United States in February of that year to work on the album in Los Angeles, New York, and Atlanta with American songwriters and producers, most of whom she had not worked with previously. Mauboy co-wrote eight of the album's songs. Get 'Em Girls received mixed reviews from critics. Majhid Heath of ABC Online Indigenous gave the album two-and-a-half out of five stars, writing that it's a "non-cohesive mess of similar sounding, auto-tuned ravaged pop/R&B that diminishes the talent of this brilliant young songstress". The album's title track, featuring American rapper Snoop Dogg, peaked at number 19. Mauboy performed "Get 'Em Girls" at the 2010 Nickelodeon Australian Kids' Choice Awards, where she co-hosted the award ceremony with Liam Hemsworth and Jerry Trainor, and won the award for Fave Aussie Muso. The following singles, "Saturday Night" featuring American rapper Ludacris and "What Happened to Us" featuring English singer Jay Sean, peaked at numbers seven and 14, respectively. The former single was certified double platinum while the latter was only certified platinum. At the 2010 Australian of the Year Awards, Mauboy received her first nomination for Young Australian of the Year. On 10 December 2010, she performed in front of an audience of 92,000 at the Federation Square in Melbourne, ahead of Oprah Winfrey's visit to the place. Mauboy's performance was shown in the first of the four Australian specials of The Oprah Winfrey Show on 18 January 2011. In April 2011, she served as a support act for Chris Brown's Australian leg of his F.A.M.E. Tour. Get 'Em Girls was re-released as a deluxe edition on 12 August 2011, which included the singles "Inescapable" and "Galaxy" featuring Stan Walker. The former single peaked at number four and was certified double platinum, while the latter peaked at number 13 and was certified platinum. "Galaxy" also reached number 36 on the New Zealand Singles Chart and became Mauboy's first single to chart in that country. On 17 November 2011, Mauboy performed for the Australian troops at RAAF Base Darwin, ahead of US President Barack Obama's visit to the place. In January 2012, Mauboy and Walker embarked on their Galaxy Tour across Australia, which served as her first headlining tour. Mauboy recorded 15 songs for [[The Sapphires (soundtrack)\|''The Sapphires soundtrack album]], which was released on 27 July 2012. The album debuted at number one and was certified platinum. Mauboy released "Gotcha" as the album's lead single, which peaked at number 43 and was certified gold. At the 2012 ARIA Music Awards, she was nominated for Best Female Artist, Best Pop Release for "Gotcha", and Song of the Year for "Galaxy". 2013–2014: Beautiful, Eurovision and iTunes Session EP Mauboy received two nominations at the 2013 Australian of the Year Awards for Young Australian of the Year and Northern Territory Young Australian of the Year; she won the latter award. In March 2013, she participated in a singing quiz segment for Ellen DeGeneres' two Australian shows in Sydney and Melbourne. In September 2013, she performed at the 65th Primetime Emmy Awards Governors Ball in Los Angeles. Mauboy's third studio album Beautiful was released on 4 October 2013; it debuted at number three and was certified platinum. The lead single "To the End of the Earth" peaked at number 21 and was certified gold, while the second single "Pop a Bottle (Fill Me Up)" debuted at number two and was certified platinum. "Pop a Bottle (Fill Me Up)" also reached number 33 in New Zealand and became Mauboy's third single to chart internationally. The following singles, "Beautiful" and "Never Be the Same", peaked at numbers 46 and six, respectively, with the latter single being certified platinum. At the 2013 NRL Grand Final on 6 October 2013, Mauboy performed the Australian national anthem, "Livin' la Vida Loca", with Ricky Martin, and a medley of "Something's Got a Hold on Me" and "Pop a Bottle (Fill Me Up)". At the 2013 ARIA Music Awards, Mauboy won Best Female Artist for "To the End of the Earth". She embarked on the To the End of the Earth Tour, her second headlining tour, from November 2013 to January 2014. To coincide with the 2014 Australia Day celebrations, Mauboy along with Dami Im, Justice Crew, Nathaniel Willemse, Samantha Jade and Taylor Henderson released a cover of "I Am Australian" which peaked at number 51. She appeared in an episode of Sesame Street on 20 March 2014, singing "Count the Kangaroos" in a clip which was filmed in Alice Springs with children from Yipirinya State Primary School. Mauboy was chosen by SBS to perform at the 2014 Eurovision Song Contest, in recognition of Australia's love affair with the annual event. She performed the single "Sea of Flags" during the second semi-final in Denmark. SBS screened the documentary, Jessica Mauboy's Road to Eurovision on 10 May 2014 before their coverage of the second semi-final. Mauboy's first extended play iTunes Session was released on 18 July 2014, and debuted at number 25. On 3 August 2014, she performed during the 2014 Commonwealth Games Flag Handover Ceremony at Hampden Park Stadium in Glasgow, Scotland, to mark the official handover of the Commonwealth Games from Glasgow to the Gold Coast in 2018. Beautiful was re-released as a platinum edition on 21 November 2014, which included the singles "Can I Get a Moment?" and "The Day Before I Met You". The former single debuted at number five and was certified platinum. Mauboy received three nominations at the 2014 ARIA Music Awards, including Album of the Year and Best Female Artist for Beautiful, and Best Video for "Never Be the Same". 2015–2018: The Secret Daughter soundtracks and Eurovision Mauboy performed at the ICC Cricket World Cup opening ceremony held on 12 February 2015 at the Sidney Myer Music Bowl in Melbourne. On 3 May 2015, she appeared on the US Today show in a segment that was filmed live at the Sydney Opera House with host Savannah Guthrie. In an interview with the Australian Associated Press that same month, Mauboy revealed that she had already begun writing songs for her upcoming fourth studio album. She said, "This time around with the album I would like to...just take risks in terms of the sound and identifying who I am as a woman. It's more of a rhythmic pop so it's not going to be extreme pop. It's going to be a little bit more soul." "This Ain't Love", released in September 2015, was originally intended to be the album's lead single; it peaked at number five and was certified gold. Mauboy along with The Veronicas and Tina Arena performed Arena's 1994 single "Chains" at the 2015 ARIA Music Awards, where Arena was inducted into the ARIA Hall of Fame. Their version was released as a single following the performance, and peaked at number 14. In March 2016, Mauboy released the single "Where I'll Stay", which was used to promote the Seven Network's coverage of the 2016 Rio Olympics. Plans for Mauboy's upcoming fourth studio album were put on hold when she released her first individual soundtrack album, The Secret Daughter: Songs from the Original TV Series, on 14 October 2016. The album featured music used in the television series of the same name, in which Mauboy plays the lead role of Billie Carter. The album included five original songs and twelve cover versions of songs by Cold Chisel, Crowded House, The Clash, Roxette, Ed Sheeran and Alex Lloyd, among others. One of the original tracks, "Risk It", was released as the lead single from the soundtrack album. The Secret Daughter: Songs from the Original TV Series became Mauboy's first individual number-one album and also made her the first Indigenous artist to reach number one on the ARIA Albums Chart. Mauboy embarked on her third headlining tour, All the Hits Live – The Australian Tour, in March and April 2017, where she performed songs from the last 10 years of her career. Mauboy's second individual soundtrack album, The Secret Daughter Season Two: Songs from the Original 7 Series, was released on 6 October 2017. The album included two original songs and sixteen covers of songs by The Church, Crowded House, Thirsty Merc, Paul Kelly, Lighthouse Family and Aretha Franklin, among others. Original track "Fallin'" was released as the album's lead single; it peaked at number 11, became Mauboy's sixteenth top-twenty hit, and was certified platinum. The Secret Daughter Season Two: Songs from the Original 7 Series debuted at number two and became Mauboy's fifth top-ten album. She received six nominations at the 2017 ARIA Music Awards, including Best Female Artist and Best Original Soundtrack, Cast or Show Album for The Secret Daughter, Best Australian Live Act, and Song of the Year, Best Pop Release and Best Video for "Fallin'". On 11 December 2017, Mauboy was announced as the Australian representative for the 2018 Eurovision Song Contest in Portugal; becoming the fourth artist to compete for Australia. In May 2018, Mauboy performed the song "We Got Love" which finished in 20th position in the final. 2019–2020: Hilda and Sony depart On 11 April 2019, Mauboy released her new single "Sunday" from her upcoming fourth studio album, Hilda (October 2019). A video for the song was released on 30 April 2019, directed by Nick Waterman and produced by Jo Austin. The album's second single "Little Things" was released on 21 June along with the pre-order for the album. Hilda debuted at number one on the ARIA Albums Chart. In October 2019 "Little Things" was certified as an ARIA platinum single. The same month, "Selfish" impacted Australian radio as the third official single from Hilda. In December 2020, Mauboy left Sony after fourteen years and signed a new record deal with Warner Music Australia, with new music to be released in 2021. 2021: "Glow" On 12 November 2021, Mauboy released "Glow", the first release on Warner Music Australia. Personal life In late 2008, Mauboy moved from Darwin to Sydney, ahead of the release of her debut studio album Been Waiting. In January 2009, she began a long-distance relationship with Themeli "Magoo" Magripilis, a soccer player and council worker of Greek descent, who was born and raised in Darwin. Alt URL Magripilis played for the Darwin soccer league's club Hellenic Athletic, the same club that Mauboy's younger sister Sophia played for. After seven years of long distance dating, Magripilis relocated from Darwin to Sydney in September 2016 and moved in with Mauboy. When she is not working, Mauboy returns to Darwin to spend time with her family. She is an avid fan of NRL side North Queensland Cowboys. Artistry Music and songwriting Mauboy's music is generally R&B and pop, but she also incorporates dance, funk, soul and hip hop into some of her songs. Mauboy's debut studio album Been Waiting (2008) was described as "a blend of electro beats, heartfelt pop tunes and R&B bass lines." Most of the themes on the album dealt with boys, love and break-ups, everyday life, family issues, and friendship. Alasdair Duncan from Rave magazine described Mauboy's second studio album Get 'Em Girls (2010) as "a more hard-edged take on R&B and pop than her debut, pumped full of hip hop beats, jagged synths and futuristic vocal effects." Mauboy said that she wanted each song on the album to talk about a "woman's needs", and that the album's theme was "very much about the empowerment of women and the domination of women." Kylie Northover of The Sydney Morning Herald noted that Mauboy's third studio album Beautiful (2013) featured "a mix of more dance-oriented tunes and her usual R&B sound". Mauboy has also incorporated her Aboriginal heritage into her music, including songs on the soundtrack album for The Sapphires and in the single "Sea of Flags". Aside from her vocals work, Mauboy can also play the piano and has co-written some of her material. She co-wrote eleven songs on her first studio album, nine on her second studio album, and fourteen on her third studio album. In 2010, Mauboy was nominated for Breakthrough Songwriter of the Year at the APRA Awards. Mauboy stated in an interview that while working with American producer Harvey Mason, Jr., they came up with the melodies and hooks for the songs "Fight for You" and "Here for Me" on the album Get 'Em Girls. She also experimented with an operatic-type voice on her song "Scariest Part". Influences Mauboy grew up listening to country singers Patsy Cline, Dolly Parton and Slim Dusty; she credits country music as her first love of music, saying the genre "is who I really, really am deeply." Mauboy also grew up listening to hip-hop rappers Tupac Shakur, Dr. Dre and Snoop Dogg. Mauboy cites Mariah Carey as her main influence and inspiration, stating that she has "drawn a lot of inspiration from watching and listening to her live performances". She grew up listening to many of Carey's songs and was inspired by her vocal style and songwriting, "I loved 'Dreamlover' and 'Fantasy' – and picked up loads of tips from her style of singing. She taught me that the lyrics you write have to come from personal experiences – I really felt her music. Now I aspire to writing honest lyrics with real feelings that people can relate to." Mauboy also names Whitney Houston as another influence, stating that she looks up to her and Carey "for their outstanding vocal performances". Her other musical influences are John Farnham and Beyoncé. Mauboy is also inspired by fellow Indigenous Australian women such as Olympic gold medalist Cathy Freeman and actress Deborah Mailman. Public image Mauboy is known for her good girl image and is considered a role model to young girls and Indigenous communities in Australia. Ed Gibbs of The Sydney Morning Herald described her as a "wholesome girl-next-door", while Holly Richards of New Idea noted that she "is renowned for her squeaky-clean image and family values." Genevieve Rosen of The Vine wrote that Mauboy's "flawless public image is no farce. Humble, genuinely engaging and passionate about public service, Mauboy, put simply, is really nice." Anna Byrne of the Herald Sun observed, "It's clear this endearing unpretentiousness is not a fame facade. In every respect, the pint-sized pop star embodies one of the most elusive qualities of stardom: relatability. It's this genuineness that has seen her star ascend to where she actually is." Fashion has influenced Mauboy's music career and image. Byrne noted that her "fashion choices have mirrored her rise in fame, with her style evolving from shy schoolgirl to confident diva, set to steal the sartorial spotlight." Mauboy cites Jennifer Lopez as her style icon. She has worn dresses designed by Dolce & Gabbana, J'Aton, Steven Khalil and Toni Matičevski, and has appeared on the covers of fashion magazines in Australia, including Elle, InStyle, and Marie Claire. She has also appeared on the cover of Who magazine's Sexiest People issue twice; first in 2012 and again in 2016. Mauboy's weight has been the subject of media interest, ever since her rise to fame on Australian Idol when judge Kyle Sandilands publicly told her to "lose the jelly belly". Mauboy told Women's Health magazine that she was proud of her curvy figure, saying "having curves is one of my favourite things". In 2014, she received media attention for her weight loss transformation from a size 12 to 8. Mauboy has an alter ego named J Malley, who she described as her "fearless side" and "sort of like Beyoncé's Sasha Fierce". Mauboy is often referred to as Australia's answer to Beyoncé. However, she does not agree with the comparisons, saying "I totally disagree with that one. I've...watched her documentary [Life Is But a Dream] and was just blown away by how magnificent she really is and it's so inspiring for me. I just think she's fantastic and I'm completely nowhere near where she is, but I aspire to that." With the release of Mauboy's second studio album Get 'Em Girls, some critics felt that she was becoming an "R&B sexpot". Both the album and its title track also received negative reviews from critics. The music video for the title track was heavily criticised by fans who felt that Mauboy had become too sexy and moved away from her good girl image. Speaking of Mauboy's image for R&B music, Fairfax Media journalist Bernard Zuel said: "It's a problem, matching the personality to a formula. The formula with young women singing modern R&B is that they have to be out there sexually, thrusting physically and vocally. But that's just not who she is." Following the release of her single "Gotcha" in 2012, Miranda Cashin of Sunshine Coast Daily noted that it was "a return to the Mauboy [we knew] before the infamous 2010 sexed-up fist-pumping album, Get 'Em Girls". Other ventures Acting career In January 2010, Mauboy made her acting debut in the film adaptation of the 1990 Aboriginal musical Bran Nue Dae. The film was directed by Rachel Perkins and also starred Ernie Dingo, Geoffrey Rush, Missy Higgins, and Deborah Mailman. In the film, Mauboy played the role of Rosie, a local church singer who has a love interest for a school boy named Willie (played by Rocky McKenzie). Her performance in the film earned her a nomination for Female Actress of the Year at the 2010 Deadly Awards. In November 2010, Mauboy made a guest appearance in the final episode of the mini-series Underbelly: Razor, and played the role of a nightclub singer named Gloria Starr. In 2012, Mauboy had a lead role in The Sapphires, a film based on the stage show of the same name. It was directed by Wayne Blair and also starred Deborah Mailman, Shari Sebbens, and Miranda Tapsell. Mauboy played the role of Julie McCrae, one of the four Indigenous Australian women who travel to Vietnam to sing for the American troops. Mauboy and the cast attended the film's premiere at the 65th Annual Cannes Film Festival in Cannes, France, on 20 May 2012. Upon its release in the US, Mauboy appeared on The Ellen DeGeneres Show on 18 April 2013. Her performance in The Sapphires earned her the AACTA Award for Best Actress in a Supporting Role and the Australian Film Critics Association Award for Best Supporting Actress. In September 2013, Mauboy made a guest appearance as herself in the third and final season of the teen drama Dance Academy. In 2016, Mauboy was cast in the lead role of the television drama series The Secret Daughter, which premiered on the Seven Network on 3 October. It was Mauboy's first major TV role and was written especially for her. She portrayed the role of Billie Carter, a part-time country pub singer whose life changes after coming in contact with a rich hotelier. The role earned Mauboy her first Logie Award nomination for Best Actress, and the show was renewed for a second and final season in 2017. Mauboy guest starred in the 2016 season finale of Home and Away as herself, where she performed at the Summer Bay Groove Festival. Endorsements In 2007, Mauboy appeared in advertisements for the shampoo product, Head & Shoulders. In April 2009, she teamed up with Bloom Cosmetics to create two designer collection nail polishes, which included shades of sangria red and metallic green. Mauboy became the new face of the video game Nintendogs + Cats 3DS in October 2010, and joined forces with RSPCA and Nintendo to help promote the game. She teamed up with clothing label KuKu in December 2010 to launch her five-dress fashion range, which were made available to buy at Myer stores across Australia. In February 2013, Mauboy was announced as the ambassador for the National Rugby League (NRL) and featured in their television advertising campaign singing her cover version of Etta James' "Something's Got a Hold on Me", the theme song for the 2013 NRL season. The following month, Mauboy became the ambassador of the 2013 Woolworths Earn & Learn program, which enables primary and secondary schools in Australia as well as early learning centres to earn educational resources through the school community shopping at Woolworths. She appeared in two television commercials for the program, featuring students from Wulagi Primary School in Darwin. In 2014, Mauboy became the ambassador for the health and wellness company Swisse and appeared in a television commercial for Telstra's commitment to its customers campaign. In May 2015, she became the new face for Target Australia's Womenswear and represented the brand for a year. Mauboy's first fragrance, Be Beautiful, was released on 30 October 2015. The fragrance was developed by Mauboy in partnership with BrandPoint and was inspired by her hometown of Darwin. In February 2017, Mauboy became the ambassador for Foxtel's new Fox League channel dedicated to screening rugby league, and appeared in a television commercial to help launch the channel. Philanthropy Throughout her career, Mauboy has supported various charities in Australia. She is an ambassador for the Sony Foundation, which raises funds for youth-related causes. As an ambassador for the Foundation, Mauboy has made several hospital visits and performed at many of their annual fundraising events such as Wharf4Ward, which raises funds to build specialised youth cancer centres across Australia. In April 2009, sales from the nail polish bottles Mauboy created with Bloom Cosmetics were donated to Children's Hospital Foundations Australia to support the research into childhood illness. Mauboy has performed at several other fundraising events including charity balls, charity dinners, Christmas carols events, and telethons. For many years, Mauboy has performed at the annual Channel Seven Perth Telethon. In December 2011, she performed free acoustic concerts across Australia as part of the Indian Pacific Outback Christmas train journey, an annual fund-raiser for the Royal Flying Doctor Service. On 14 December 2012, she performed a free pop up show at Federation Square in Melbourne, as part of the Optus Carols for a Cause event, which raised funds for Kids Helpline and The Smith Family. Mauboy headlined the Come Together charity concert in Ulverstone, Tasmania on 19 May 2013, in aid of two boys who were burnt in an explosion. All proceeds from the concert went into a trust fund for the boys' ongoing treatment. Mauboy has also contributed to Indigenous organisations aimed at improving children's education. In 2009, she became a spokesperson for the Indigenous Literacy Project (ILP), which aims to provide "books and learning materials to schools, libraries and women's centres in remote areas." As spokesperson for the charity, Mauboy visited schools across Australia and talked to students about the importance of education. In 2011, she worked with the Yalari organisation "that offers children from regional, rural and remote communities and towns across Australia the opportunity to get a first-class secondary education." In 2013, Mauboy was appointed as the ambassador of the independent Aboriginal Yipirinya School in Alice Springs. Along with making several visits to the school, Mauboy has helped promote the school and assist with its fundraisings. In August 2015, she became an ambassador for the Indigenous Literacy Foundation, which raises support and awareness of literacy in remote indigenous communities. Her songs have been included on charity compilation albums such as Bushfire Aid: Artists for the Bushfire Appeal (2009), Spirit of Christmas (2009), and Flood Relief – Artists for the Flood Appeal (2011). Mauboy along with Guy Sebastian, Sheppard, Jon Stevens, Shannon Noll and Megan Washington were featured on Lee Kernaghan's 2015 charity single "Spirit of the Anzacs", which raised funds for Legacy and Soldier On. Television In December 2020, Mauboy was announced to have joined the judging panel of The Voice Australia for its upcoming tenth season to replace Boy George. Discography Been Waiting (2008) Get 'Em Girls (2010) Beautiful (2013) Hilda (2019) Filmography Film Bran Nue Dae (2010) The Sapphires (2012) Television Australian Idol (2006) The Secret Daughter (2016–17) The Voice Australia (2021–Present) The Voice Generations Australia (2022–Present) Music videos and other videography ToursHeadliningGalaxy Tour (with Stan Walker) (2012) To the End of the Earth Tour (2013–14) All the Hits Live – The Australian Tour (2017)Supporting act''' Beyoncé's I Am... World Tour: Australian leg (2009) Chris Brown's F.A.M.E. Tour: Australian leg (2011) See also List of awards and nominations received by Jessica Mauboy References External links 1989 births 21st-century Australian singers 21st-century Australian women singers Actresses from the Northern Territory APRA Award winners ARIA Award winners Australian child singers Australian contemporary R&B singers Australian women pop singers Australian women singer-songwriters Australian film actresses Australian Idol participants Australian people of Indonesian descent Australian singer-songwriters Best Supporting Actress AACTA Award winners Eurovision Song Contest entrants of 2018 Eurovision Song Contest entrants for Australia Indigenous Australian actresses Indigenous Australian musicians Living people Musicians from the Northern Territory People from Darwin, Northern Territory Sony Music Australia artists Young Divas members	true	[ "Greatest Hits + Five Unreleased is a greatest hits compilation released by American singer/musician Steve Perry in 1998. The album contains hits from his two solo albums Street Talk (1984) and For the Love of Strange Medicine (1994) as well as several previously unreleased tracks from the abandoned solo project Against the Wall, as well as demos, b-sides and collaborations.\n\nAgainst the Wall was originally going to be Perry's second solo album. It was shelved by a corporate executive during the time when Sony Music bought Columbia Records. Perry recalled the executive said he was unsure about the musical direction of the album. Apparently stunned at this response, Perry sought legal means to have the album completed and released otherwise but was unsuccessful. Sony ultimately did not release the album. Seven of these tracks were later released on this album and the others were released as bonus tracks on the 2006 re-issue of For the Love of Strange Medicine. He states in the album booklet that these songs all together should be called \"Better Late Than Never.\"\n\nTrack listing\n\nReferences\n\nExternal links\n Steve Perry – Greatest Hits at Discogs\n\n1998 greatest hits albums\nSteve Perry albums\nColumbia Records compilation albums", "Ultimate Toni Braxton, released in 2003, is the first greatest hits collection by R&B singer Toni Braxton. It features many of her greatest hits, and includes all the singles from her debut Toni Braxton and all but one of the singles from her second album Secrets. Her albums The Heat and More Than a Woman are fairly underrepresented, as only two and one songs are included from each album, respectively. The songs on Ultimate are not the actual album versions but radio edits, and the version of \"Seven Whole Days\" is live.\n\nThe album also includes two new songs, \"Whatchu Need\" (produced by Rodney Jerkins) and \"The Little Things\" (produced by R. Kelly). Toni's first single \"Give U My Heart\" (a duet with Babyface) that was included on the \"Boomerang\" soundtrack, and a remix of \"Un-Break My Heart\". There is also a Box Set edition of the album which contains six additional remixes. According to Billboard, the album has sold 400,000 copies as of May 2013. It was certified Gold in the UK, in July 2013.\n\nBackground and content \nAfter releasing four studio albums, the last, More Than a Woman (2002), was a chart disappointment, being her first studio album to not reach the Top 10 and to not produce any hit singles. Later, Braxton discovered she was pregnant with her second child, which led her label to not release any more singles and the promotion of the album was interrupted. Ultimately, her label decided to release a greatest hits compilation in 2003. The compilation titled Ultimate Toni Braxton was released on November 4, 2003 by Arista Records.\n\nSongs \nThe track list is composed of Braxton's 18 songs, with 15 being her biggest hits, since her debut single with Babyface, \"Give U My Heart\", from 1992, until her biggest hit to date, \"Un-Break My Heart\", from 1996. The album also features other hits of her career, such as \"Love Shoulda Brought You Home\", \"Another Sad Love Song\", \"Breathe Again\", \"You're Makin' Me High\", \"He Wasn't Man Enough\" and many more. The album also features two new tracks, \"Whatchu Need\", produced by Rodney \"Darkchild\" Jerkins, and \"The Little Things\", produced by R. Kelly. It also features a live version of \"Seven Whole Days\" and a remix of \"Un-Break My Heart\" on the regular edition. The \"limited edition\" of the album contains 2 discs, with the second disc featuring six remixes of her hits.\n\nCritical reception \n\nStephen Thomas Erlewine of Allmusic gave the compilation 4.5 out of 5 stars, writing that, \"her 18-track hits collection works well even through her shifts in style -- she is a confident enough performer to sell both the slow romantic ballads and material that swings harder. That's not to say that there aren't some slow spots here -- the previously unreleased cuts are no great shakes, and sometimes the abundance of slow numbers makes things sound too samey -- but she was one of the top urban soul singers of the '90s, and this is the album that illustrates why.\"\n\nCommercial performance \nThe album charted very modestly on the Billboard 200 chart, only reaching number 119. However, it fared better on the Top R&B Albums chart, peaking at number 43. Even with the modest peak, the album managed to sell over 400,000 copies in the United States, as of 2013. In the UK, the album charted higher, peaking at number 23. In July 2013, the album was certified gold, for selling over 100,000 copies.\n\nTrack listing\n\nCharts\n\nCertifications\n\nReferences\n\n2003 greatest hits albums\nAlbums produced by Bryan-Michael Cox\nToni Braxton compilation albums" ]
[ "Wishbone Ash", "Reunions and departures (1987-1994)" ]	C_db0b5d1331414d28b15ad487055ce4eb_0	How where the band members in 1987?	1	How old were the band members of Wishbone Ash in 1987?	Wishbone Ash	In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER	Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner	Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone). Melody Maker (1972) described Powell and Turner as "the most interesting two guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth. Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield. The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future. History Formation and rise to fame (1969–1980) Wishbone Ash were formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner left the trio and returned to his native Devon, their manager, Miles Copeland III advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'. In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records. The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage. The band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3). The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world. The band had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves. In December 1973, the band released a double live album, Live Dates. There was an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores. Not long after, guitarist Ted Turner left the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974). Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player. 1976's New England returned to the traditional Wishbone Ash style. Front Page News (1977) was the band's last album of this period that was recorded in the US. In 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner. The band spent six months making the next album, Just Testing which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer / frontman, thus restricting Martin Turner's duties to bass guitar only. Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house, Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management. Line-up changes (1981–1986) Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. Reunions and departures (1987–1994) In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. Reunion years to present (1995–present) At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album. Illuminations was released in 1996 and featured the Powell, Filgate, Kishman, Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album. In 1997, Filgate, Kishman, and Sturgis departed, so Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that was a clubland smash and reached number 38 on the UK dance chart. Psychic Terrorism followed. The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD. In 2001, Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album. 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s. Ben Granfelt left the band in 2004 to continue working on his solo career. Granfelt's mentor, Muddy Manninen joined the band. In late 2006, the band released a new studio album entitled Clan Destiny. In 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band released Power of Eternity; their first with new member Joe Crabtree. On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989. In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided. The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception. On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive indeed. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history. On 16 May 2015, Wishbone Ash recorded a live to vinyl album at Metropolis Studios. On 21–23 May 2015, Wishbone Ash recorded the DVD Live in Paris at in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell. In May 2017, it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining on guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England. On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and will release Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and was released on 10 January 2020. The second single "Back in the Day" was released on 7 February 2020. The album cover has been created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio. For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. In February 2022 Mike Truscott became Wishbone Ash's official drummer. Martin Turner - (Ex Wishbone Ash) Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012. In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner - (Ex Wishbone Ash)". Special events Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures. Personnel Current members Andy Powell – guitar, vocals (1969–present) Bob Skeat – bass, backing vocals (1997–present) Mark Abrahams – guitar (2017–present) Mike Truscott – drums, percussion (2022 - present) Former members Steve Upton – drums, percussion (1969–1990) Ted Turner – guitar, vocals, banjo (1969–1974; 1987–1994) Martin Turner – bass, vocals, keyboards (1969–1980; 1987–1991; 1995–1996) Laurie Wisefield – guitar, vocals, banjo (1974–1985) Joe Crabtree – drums, percussion (2007–2022) Discography Wishbone Ash (1970) Pilgrimage (1971) Argus (1972) Wishbone Four (1973) There's the Rub (1974) Locked In (1976) New England (1976) Front Page News (1977) No Smoke Without Fire (1978) Just Testing (1980) Number the Brave (1981) Twin Barrels Burning (1982) Raw to the Bone (1985) Nouveau Calls (1987) Here to Hear (1989) Strange Affair (1991) Illuminations (1996) Trance Visionary (1997) (electronic re-recordings) Psychic Terrorism (1998) (electronic re-recordings) Bare Bones (1999) (acoustic re-recordings) Bona Fide (2002) Clan Destiny (2006) Power of Eternity (2007) Elegant Stealth (2011) Blue Horizon (2014) Coat of Arms (2020) References External links English progressive rock groups Musical groups established in 1969 Musical quartets English rock music groups I.R.S. Records artists Decca Records artists 1969 establishments in England	true	[ "\"How Can I Fall?\" is a song by British band Breathe, written by the group members David Glasper and Marcus Lillington. It was released in June 1988 as the second single from their debut studio album, All That Jazz (1988). In the United Kingdom, \"How Can I Fall?\" was the third single from the album, following \"Hands to Heaven\" and the UK-only release \"Jonah\".\n\nThe song was successful in the United States where it peaked at #3 on the Billboard Hot 100 and #1 on the Billboard Adult Contemporary chart. Internationally, \"How Can I Fall\" reached the top 40 in the Belgium and Netherlands; however, in the United Kingdom it peaked solely at #48.\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nExternal links\nSingle release info at discogs.com\n \n\n1987 songs\nBreathe (British band) songs\n1988 singles\nVirgin Records singles\nA&M Records singles\n1980s ballads\nRock ballads", "Terminal was an American rock band from Mansfield, Texas.\n\nHistory\n\nFormation and How the Lonely Keep\nFormed in 1998 under the name Letter Twelve, the group signed to Tooth & Nail Records in 2004 and changed its name. The band's first, and only, release under this name was entitled How the Lonely Keep, and in 2005 they went on tour with labelmates Anberlin. The record hit No. 39 on the Billboard Top Christian Albums chart in 2005. Matthew Tsai of Absolute Punk called the record \"one of the great emo releases of the 00's\". Melodic.net compared the group to Anberlin, Jimmy Eat World and Third Eye Blind.\n\nShortly after the release of the album, all of the band's members except for lead singer Travis Bryant departed the group during their tour with The Spill Canvas and Rufio; Bryant toured with Terminal as a solo act for the remainder of the tour. Bryant found replacements for the members later in 2005 and continued to tour behind the album, touring with Saosin, He Is Legend, The Juliana Theory, Cartel, The Working Title, Codeseven, The Receiving End of Sirens, and Yesterdays Rising. Terminal split in January 2006.\n\nPost-breakup\nRyan Conley, and James Erwin are now all members of the band Oh, Sleeper, a metalcore band which later signed to Solidstate Records. The band reunited on December 28, 2007 for a one-off reunion show in Plano, TX. Bryant periodically covers Terminal songs in his current band, Alive in Wild Paint.\n\nMatt Lucas owns and operates Trust Printshop, a screen printing company. Ryan Flynn is now a commercial photographer and film maker based out of Los Angeles.\n\nTravis Bryant was featured as a guitarist for the band Analog Rebellion.\n\nMembers \nTravis Bryant - vocals/guitar (1998–2006)\nRyan Flynn - bass (2005–2006)\nJustin Leu - drums (2005–2006)\nChris Pulis - guitar (2005–2006)\nRyan Conley - drums (1998–2005) (also was in Oh, Sleeper)\nMatt Lucas - guitar (1998–2005)\nJames Erwin - guitar/vocals (2001–2005) (also was in Oh, Sleeper and At Night We Strike)\nLucas Starr - bass (2002–2005, died 2018) (also was in As Cities Burn, Oh, Sleeper, and At Night We Strike)\nKevin McCauley - bass (1998–2002)\n\nDiscography \nAs Letter Twelve\nLetter Twelve EP (2002)\nThe Antecedent Me (2004)\n\nAs Terminal\n How the Lonely Keep · June 28, 2005 · Tooth & Nail Records\n\nReferences\n\nExternal links \n Myspace.com/Terminal · Terminal's MySpace.\n PureVolume.com/Terminal · Terminal's PureVolume page.\n PureVolume.com/TravisBryant · where Travis Bryant's solo work can be found.\n\nAmerican post-hardcore musical groups\nChristian rock groups from Texas\nPeople from Mansfield, Texas\nMusical groups established in 1998" ]
[ "Wishbone Ash", "Reunions and departures (1987-1994)", "How where the band members in 1987?", "Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner" ]	C_db0b5d1331414d28b15ad487055ce4eb_0	Did they release an album?	2	Did Wishbone Ash release an album?	Wishbone Ash	In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER	record the album Nouveau Calls, released in February 1988.	Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone). Melody Maker (1972) described Powell and Turner as "the most interesting two guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth. Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield. The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future. History Formation and rise to fame (1969–1980) Wishbone Ash were formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner left the trio and returned to his native Devon, their manager, Miles Copeland III advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'. In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records. The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage. The band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3). The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world. The band had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves. In December 1973, the band released a double live album, Live Dates. There was an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores. Not long after, guitarist Ted Turner left the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974). Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player. 1976's New England returned to the traditional Wishbone Ash style. Front Page News (1977) was the band's last album of this period that was recorded in the US. In 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner. The band spent six months making the next album, Just Testing which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer / frontman, thus restricting Martin Turner's duties to bass guitar only. Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house, Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management. Line-up changes (1981–1986) Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. Reunions and departures (1987–1994) In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. Reunion years to present (1995–present) At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album. Illuminations was released in 1996 and featured the Powell, Filgate, Kishman, Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album. In 1997, Filgate, Kishman, and Sturgis departed, so Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that was a clubland smash and reached number 38 on the UK dance chart. Psychic Terrorism followed. The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD. In 2001, Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album. 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s. Ben Granfelt left the band in 2004 to continue working on his solo career. Granfelt's mentor, Muddy Manninen joined the band. In late 2006, the band released a new studio album entitled Clan Destiny. In 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band released Power of Eternity; their first with new member Joe Crabtree. On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989. In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided. The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception. On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive indeed. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history. On 16 May 2015, Wishbone Ash recorded a live to vinyl album at Metropolis Studios. On 21–23 May 2015, Wishbone Ash recorded the DVD Live in Paris at in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell. In May 2017, it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining on guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England. On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and will release Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and was released on 10 January 2020. The second single "Back in the Day" was released on 7 February 2020. The album cover has been created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio. For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. In February 2022 Mike Truscott became Wishbone Ash's official drummer. Martin Turner - (Ex Wishbone Ash) Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012. In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner - (Ex Wishbone Ash)". Special events Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures. Personnel Current members Andy Powell – guitar, vocals (1969–present) Bob Skeat – bass, backing vocals (1997–present) Mark Abrahams – guitar (2017–present) Mike Truscott – drums, percussion (2022 - present) Former members Steve Upton – drums, percussion (1969–1990) Ted Turner – guitar, vocals, banjo (1969–1974; 1987–1994) Martin Turner – bass, vocals, keyboards (1969–1980; 1987–1991; 1995–1996) Laurie Wisefield – guitar, vocals, banjo (1974–1985) Joe Crabtree – drums, percussion (2007–2022) Discography Wishbone Ash (1970) Pilgrimage (1971) Argus (1972) Wishbone Four (1973) There's the Rub (1974) Locked In (1976) New England (1976) Front Page News (1977) No Smoke Without Fire (1978) Just Testing (1980) Number the Brave (1981) Twin Barrels Burning (1982) Raw to the Bone (1985) Nouveau Calls (1987) Here to Hear (1989) Strange Affair (1991) Illuminations (1996) Trance Visionary (1997) (electronic re-recordings) Psychic Terrorism (1998) (electronic re-recordings) Bare Bones (1999) (acoustic re-recordings) Bona Fide (2002) Clan Destiny (2006) Power of Eternity (2007) Elegant Stealth (2011) Blue Horizon (2014) Coat of Arms (2020) References External links English progressive rock groups Musical groups established in 1969 Musical quartets English rock music groups I.R.S. Records artists Decca Records artists 1969 establishments in England	true	[ "Cover Up is an album by UB40, released in 2001. It was their first studio album release since 1998 when they released Labour of Love III. It debuted at number 29 on the UK charts but dropped out of the top-100 after its third week. There was no US release, but rather it was released as an international release. The first single released from this album was \"Since I Met You Lady\", but it did not rise higher than No. 40 on the UK charts.\n\nTrack listing\nAll tracks composed by UB40; except where indicated\n\nReferences\n\n2001 albums\nUB40 albums", "Music is the fifth studio album by American ambient post-rock band, Windsor Airlift. It was released on September 23, 2013.\n\nBackground\nIn August 2013, Windsor Airlift started a kickstarter for their up-and-coming album Music. Around this time, they also announced that they would be having an album art contest for the album. After approximately 220 entries came in, the band announced the winner on September 6, 2013. The kickstarter was also a success and the band was able to release a quantity of physical copies for the release which are currently still available.\n\nOn October 13, 2013, the Johnson brothers did an interview with Flux9.com about the release and Windsor Airlift in general.\n\nTrack listing\n\n\"Music Through the Window\" performed by Emily Johnson\n\nMusic videos\n\nNotes and miscellanea\nThe song \"Silhouette Harbor\" was originally intended to be on the album Moonfish Parachutist 2. However, this album has yet to come to fruition. The release of Music encouraged the band to place it on this album instead.\nAs an added bonus to the success of the kickstarter, Windsor Airlift released The Adventures of Flames Pond in its entirety to YouTube.\n\nReferences\n\n2013 albums\nWindsor Airlift albums" ]
[ "Wishbone Ash", "Reunions and departures (1987-1994)", "How where the band members in 1987?", "Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner", "Did they release an album?", "record the album Nouveau Calls, released in February 1988." ]	C_db0b5d1331414d28b15ad487055ce4eb_0	Did they go on tour?	3	Did Wishbone Ash go on tour?	Wishbone Ash	In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER	The original line-up's tour of 1988 was a huge success,	Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone). Melody Maker (1972) described Powell and Turner as "the most interesting two guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth. Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield. The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future. History Formation and rise to fame (1969–1980) Wishbone Ash were formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner left the trio and returned to his native Devon, their manager, Miles Copeland III advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'. In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records. The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage. The band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3). The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world. The band had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves. In December 1973, the band released a double live album, Live Dates. There was an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores. Not long after, guitarist Ted Turner left the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974). Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player. 1976's New England returned to the traditional Wishbone Ash style. Front Page News (1977) was the band's last album of this period that was recorded in the US. In 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner. The band spent six months making the next album, Just Testing which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer / frontman, thus restricting Martin Turner's duties to bass guitar only. Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house, Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management. Line-up changes (1981–1986) Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. Reunions and departures (1987–1994) In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. Reunion years to present (1995–present) At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album. Illuminations was released in 1996 and featured the Powell, Filgate, Kishman, Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album. In 1997, Filgate, Kishman, and Sturgis departed, so Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that was a clubland smash and reached number 38 on the UK dance chart. Psychic Terrorism followed. The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD. In 2001, Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album. 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s. Ben Granfelt left the band in 2004 to continue working on his solo career. Granfelt's mentor, Muddy Manninen joined the band. In late 2006, the band released a new studio album entitled Clan Destiny. In 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band released Power of Eternity; their first with new member Joe Crabtree. On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989. In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided. The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception. On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive indeed. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history. On 16 May 2015, Wishbone Ash recorded a live to vinyl album at Metropolis Studios. On 21–23 May 2015, Wishbone Ash recorded the DVD Live in Paris at in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell. In May 2017, it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining on guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England. On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and will release Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and was released on 10 January 2020. The second single "Back in the Day" was released on 7 February 2020. The album cover has been created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio. For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. In February 2022 Mike Truscott became Wishbone Ash's official drummer. Martin Turner - (Ex Wishbone Ash) Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012. In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner - (Ex Wishbone Ash)". Special events Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures. Personnel Current members Andy Powell – guitar, vocals (1969–present) Bob Skeat – bass, backing vocals (1997–present) Mark Abrahams – guitar (2017–present) Mike Truscott – drums, percussion (2022 - present) Former members Steve Upton – drums, percussion (1969–1990) Ted Turner – guitar, vocals, banjo (1969–1974; 1987–1994) Martin Turner – bass, vocals, keyboards (1969–1980; 1987–1991; 1995–1996) Laurie Wisefield – guitar, vocals, banjo (1974–1985) Joe Crabtree – drums, percussion (2007–2022) Discography Wishbone Ash (1970) Pilgrimage (1971) Argus (1972) Wishbone Four (1973) There's the Rub (1974) Locked In (1976) New England (1976) Front Page News (1977) No Smoke Without Fire (1978) Just Testing (1980) Number the Brave (1981) Twin Barrels Burning (1982) Raw to the Bone (1985) Nouveau Calls (1987) Here to Hear (1989) Strange Affair (1991) Illuminations (1996) Trance Visionary (1997) (electronic re-recordings) Psychic Terrorism (1998) (electronic re-recordings) Bare Bones (1999) (acoustic re-recordings) Bona Fide (2002) Clan Destiny (2006) Power of Eternity (2007) Elegant Stealth (2011) Blue Horizon (2014) Coat of Arms (2020) References External links English progressive rock groups Musical groups established in 1969 Musical quartets English rock music groups I.R.S. Records artists Decca Records artists 1969 establishments in England	true	[ "Andrew Butterfield (born 7 January 1972) is an English professional golfer who plays on the Challenge Tour.\n\nCareer\nButterfield was born in London, England. He turned professional in 1993 and joined the Challenge Tour in 1996. He played on the Challenge Tour until qualifying for the European Tour through Q-School in 1999. Butterfield did not perform well enough on tour in 2000 to retain his card and had to go back to the Challenge Tour in 2001. He got his European Tour card back through Q-School again in 2001 and played on the European Tour in 2002 but did not find any success on tour. He returned to the Challenge Tour and played there until 2005 when he finished 4th on the Challenge Tour's Order of Merit which earned him his European Tour card for 2006. He did not play well enough in 2006 to retain his tour card but was able to get temporary status on tour for 2007 by finishing 129th on the Order of Merit. He played on the European Tour and the Challenge Tour in 2007 and has played only on the Challenge Tour since 2008. He picked up his first win on the Challenge Tour in Sweden at The Princess in June 2009. He also won an event on the PGA EuroPro Tour in 2004.\n\nProfessional wins (2)\n\nChallenge Tour wins (1)\n\nChallenge Tour playoff record (0–1)\n\nPGA EuroPro Tour wins (1)\n2004 Matchroom Golf Management International at Owston Hall\n\nPlayoff record\nEuropean Tour playoff record (0–1)\n\nResults in major championships\n\nNote: Butterfield only played in The Open Championship.\nCUT = missed the half-way cut\n\nSee also\n2005 Challenge Tour graduates\n2009 Challenge Tour graduates\n\nExternal links\n\nEnglish male golfers\nEuropean Tour golfers\nSportspeople from London\nPeople from the London Borough of Bromley\n1972 births\nLiving people", "The Bob Dylan England Tour 1965 was a concert tour by American singer-songwriter Bob Dylan during late April and early May 1965. The tour was widely documented by filmmaker D. A. Pennebaker, who used the footage of the tour in his documentary Dont Look Back.\n\nTour dates\n\nSet lists \nAs Dylan was still playing exclusively folk music live, much of the material performed during this tour was written pre-1965. Each show was divided into two halves, with seven songs performed during the first, and eight during the second. The set consisted of two songs from The Freewheelin' Bob Dylan, three from The Times They Are a-Changin', three from Another Side of Bob Dylan, a comic-relief concert staple; \"If You Gotta Go, Go Now\", issued as a single in Europe, and six songs off his then-recent album, Bringing It All Back Home, including the second side in its entirety.\n\n First half\n\"The Times They Are a-Changin'\"\n\"To Ramona\"\n\"Gates of Eden\"\n\"If You Gotta Go, Go Now (or Else You Got to Stay All Night)\"\n\"It's Alright, Ma (I'm Only Bleeding)\"\n\"Love Minus Zero/No Limit\"\n\"Mr. Tambourine Man\"\n\nSecond Half\n\"Talkin' World War III Blues\"\n\"Don't Think Twice, It's All Right\"\n\"With God on Our Side\"\n\"She Belongs to Me\"\n\"It Ain't Me Babe\"\n\"The Lonesome Death of Hattie Carroll\"\n\"All I Really Want to Do\"\n\"It's All Over Now, Baby Blue\"\n\nSet list per Olof Bjorner.\n\nAftermath \nJoan Baez accompanied him on the tour, but she was never invited to play with him in concert. In fact, they did not tour together again until 1975. After this tour, Dylan was hailed as a hero of folk music, but two months later, at the 1965 Newport Folk Festival, he would alienate his fans and go electric. Dylan was the only artist apart from the Beatles to sell out the De Montfort Hall in the 1960s. Even the Rolling Stones did not sell out this venue.\n\nReferences \n\nHoward Sounes: Down the Highway. The Life of Bob Dylan.. 2001.\n\nExternal links \n Bjorner's Still on the Road 1965: Tour dates & set lists\n\nBob Dylan concert tours\n1965 concert tours\nConcert tours of the United Kingdom\n1965 in England" ]
[ "Wishbone Ash", "Reunions and departures (1987-1994)", "How where the band members in 1987?", "Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner", "Did they release an album?", "record the album Nouveau Calls, released in February 1988.", "Did they go on tour?", "The original line-up's tour of 1988 was a huge success," ]	C_db0b5d1331414d28b15ad487055ce4eb_0	Was the tour international?	4	Was Wishbone Ash's tour of 1988 international?	Wishbone Ash	In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER	CANNOTANSWER	Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone). Melody Maker (1972) described Powell and Turner as "the most interesting two guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth. Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield. The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future. History Formation and rise to fame (1969–1980) Wishbone Ash were formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner left the trio and returned to his native Devon, their manager, Miles Copeland III advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'. In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records. The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage. The band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3). The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world. The band had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves. In December 1973, the band released a double live album, Live Dates. There was an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores. Not long after, guitarist Ted Turner left the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974). Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player. 1976's New England returned to the traditional Wishbone Ash style. Front Page News (1977) was the band's last album of this period that was recorded in the US. In 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner. The band spent six months making the next album, Just Testing which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer / frontman, thus restricting Martin Turner's duties to bass guitar only. Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house, Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management. Line-up changes (1981–1986) Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. Reunions and departures (1987–1994) In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. Reunion years to present (1995–present) At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album. Illuminations was released in 1996 and featured the Powell, Filgate, Kishman, Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album. In 1997, Filgate, Kishman, and Sturgis departed, so Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that was a clubland smash and reached number 38 on the UK dance chart. Psychic Terrorism followed. The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD. In 2001, Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album. 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s. Ben Granfelt left the band in 2004 to continue working on his solo career. Granfelt's mentor, Muddy Manninen joined the band. In late 2006, the band released a new studio album entitled Clan Destiny. In 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band released Power of Eternity; their first with new member Joe Crabtree. On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989. In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided. The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception. On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive indeed. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history. On 16 May 2015, Wishbone Ash recorded a live to vinyl album at Metropolis Studios. On 21–23 May 2015, Wishbone Ash recorded the DVD Live in Paris at in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell. In May 2017, it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining on guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England. On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and will release Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and was released on 10 January 2020. The second single "Back in the Day" was released on 7 February 2020. The album cover has been created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio. For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. In February 2022 Mike Truscott became Wishbone Ash's official drummer. Martin Turner - (Ex Wishbone Ash) Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012. In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner - (Ex Wishbone Ash)". Special events Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures. Personnel Current members Andy Powell – guitar, vocals (1969–present) Bob Skeat – bass, backing vocals (1997–present) Mark Abrahams – guitar (2017–present) Mike Truscott – drums, percussion (2022 - present) Former members Steve Upton – drums, percussion (1969–1990) Ted Turner – guitar, vocals, banjo (1969–1974; 1987–1994) Martin Turner – bass, vocals, keyboards (1969–1980; 1987–1991; 1995–1996) Laurie Wisefield – guitar, vocals, banjo (1974–1985) Joe Crabtree – drums, percussion (2007–2022) Discography Wishbone Ash (1970) Pilgrimage (1971) Argus (1972) Wishbone Four (1973) There's the Rub (1974) Locked In (1976) New England (1976) Front Page News (1977) No Smoke Without Fire (1978) Just Testing (1980) Number the Brave (1981) Twin Barrels Burning (1982) Raw to the Bone (1985) Nouveau Calls (1987) Here to Hear (1989) Strange Affair (1991) Illuminations (1996) Trance Visionary (1997) (electronic re-recordings) Psychic Terrorism (1998) (electronic re-recordings) Bare Bones (1999) (acoustic re-recordings) Bona Fide (2002) Clan Destiny (2006) Power of Eternity (2007) Elegant Stealth (2011) Blue Horizon (2014) Coat of Arms (2020) References External links English progressive rock groups Musical groups established in 1969 Musical quartets English rock music groups I.R.S. Records artists Decca Records artists 1969 establishments in England	false	[ "The Fiji International was a men's golf tournament in Fiji, sanctioned by the PGA Tour of Australasia. The Fiji International was Fiji's first internationally broadcast golf tournament to a worldwide audience across more than 30 countries in over 400 million homes, a first for a single sporting event in Fiji.\n\nThe inaugural tournament was held from 14–17 August 2014 at Natadola Bay Championship Golf Course. It was a tier one event on the PGA Tour of Australasia and was co-sanctioned with OneAsia. The purse for the event was US$1,000,000. The 2015 event was played in October with a A$1,125,000 purse and was again co-sanctioned by OneAsia.\n\nBeginning in 2016, the event was co-sanctioned with the European Tour. From 2017 it was also co-sanctioned by the Asian Tour. Prize money was A$1,500,000 in 2016 and 2017 and A$1,250,000 in 2018.\n\nWinners\n\nReferences\n\nExternal links\nOfficial site\nCoverage on the PGA Tour of Australasia's official site\nCoverage on the Asian Tour's official site\nCoverage on the European Tour's official site\n\nFormer PGA Tour of Australasia events\nFormer European Tour events\nFormer Asian Tour events\nGolf tournaments in Fiji\nRecurring sporting events established in 2014\nRecurring sporting events disestablished in 2018\n2014 establishments in Fiji\n2018 disestablishments in Fiji", "The International Open Series (often referred to as Pontins International Open Series or PIOS for sponsorship purposes), was a series of snooker tournaments that ran from the 2001/02 season until the 2009/10 season. It was originally called the Open Tour but was renamed in 2005/2006.\n\nHistory \nThe tour was established to provide players not on the WPBSA Main Tour or Challenge Tour with professional competition, and the best performers were promoted to the Challenge Tour. It was organised by the World Professional Billiards and Snooker Association (WPBSA) during its first season, but the English Association of Snooker and Billiards (EASB), an amateur body, took it over from 2002/03. The event was open to professionals, amateurs and international players for the first couple of seasons, but following the EASB's split from the WPBSA for 2003/04 the entry criteria were revised barring professional and non-English players from entering. After the Challenge Tour was discontinued, the entry criteria were revised again to allow international amateur players to compete, and from 2005/06 the competition promoted players directly to the Main Tour. The series was abandoned after the 2009/10 season and replaced by the Q School in the 2010/11 season.\n\nEvent finals\n\nOrder of Merit winners\n\nReferences\n\nRecurring sporting events established in 2001\nRecurring events disestablished in 2010\nSnooker competitions in the United Kingdom\nSnooker amateur competitions\nDefunct snooker competitions\nDefunct sports competitions in the United Kingdom\nSnooker tours and series" ]
[ "Wishbone Ash", "Reunions and departures (1987-1994)", "How where the band members in 1987?", "Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner", "Did they release an album?", "record the album Nouveau Calls, released in February 1988.", "Did they go on tour?", "The original line-up's tour of 1988 was a huge success,", "Was the tour international?", "I don't know." ]	C_db0b5d1331414d28b15ad487055ce4eb_0	Was there an album after Nouveau Calls?	5	Was there an album after Wishbone Ash's Nouveau Calls?	Wishbone Ash	In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER	In August 1989, the band released a reunion album	Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone). Melody Maker (1972) described Powell and Turner as "the most interesting two guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth. Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield. The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future. History Formation and rise to fame (1969–1980) Wishbone Ash were formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner left the trio and returned to his native Devon, their manager, Miles Copeland III advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'. In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records. The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage. The band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3). The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world. The band had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves. In December 1973, the band released a double live album, Live Dates. There was an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores. Not long after, guitarist Ted Turner left the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974). Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player. 1976's New England returned to the traditional Wishbone Ash style. Front Page News (1977) was the band's last album of this period that was recorded in the US. In 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner. The band spent six months making the next album, Just Testing which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer / frontman, thus restricting Martin Turner's duties to bass guitar only. Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house, Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management. Line-up changes (1981–1986) Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. Reunions and departures (1987–1994) In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. Reunion years to present (1995–present) At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album. Illuminations was released in 1996 and featured the Powell, Filgate, Kishman, Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album. In 1997, Filgate, Kishman, and Sturgis departed, so Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that was a clubland smash and reached number 38 on the UK dance chart. Psychic Terrorism followed. The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD. In 2001, Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album. 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s. Ben Granfelt left the band in 2004 to continue working on his solo career. Granfelt's mentor, Muddy Manninen joined the band. In late 2006, the band released a new studio album entitled Clan Destiny. In 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band released Power of Eternity; their first with new member Joe Crabtree. On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989. In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided. The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception. On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive indeed. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history. On 16 May 2015, Wishbone Ash recorded a live to vinyl album at Metropolis Studios. On 21–23 May 2015, Wishbone Ash recorded the DVD Live in Paris at in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell. In May 2017, it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining on guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England. On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and will release Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and was released on 10 January 2020. The second single "Back in the Day" was released on 7 February 2020. The album cover has been created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio. For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. In February 2022 Mike Truscott became Wishbone Ash's official drummer. Martin Turner - (Ex Wishbone Ash) Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012. In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner - (Ex Wishbone Ash)". Special events Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures. Personnel Current members Andy Powell – guitar, vocals (1969–present) Bob Skeat – bass, backing vocals (1997–present) Mark Abrahams – guitar (2017–present) Mike Truscott – drums, percussion (2022 - present) Former members Steve Upton – drums, percussion (1969–1990) Ted Turner – guitar, vocals, banjo (1969–1974; 1987–1994) Martin Turner – bass, vocals, keyboards (1969–1980; 1987–1991; 1995–1996) Laurie Wisefield – guitar, vocals, banjo (1974–1985) Joe Crabtree – drums, percussion (2007–2022) Discography Wishbone Ash (1970) Pilgrimage (1971) Argus (1972) Wishbone Four (1973) There's the Rub (1974) Locked In (1976) New England (1976) Front Page News (1977) No Smoke Without Fire (1978) Just Testing (1980) Number the Brave (1981) Twin Barrels Burning (1982) Raw to the Bone (1985) Nouveau Calls (1987) Here to Hear (1989) Strange Affair (1991) Illuminations (1996) Trance Visionary (1997) (electronic re-recordings) Psychic Terrorism (1998) (electronic re-recordings) Bare Bones (1999) (acoustic re-recordings) Bona Fide (2002) Clan Destiny (2006) Power of Eternity (2007) Elegant Stealth (2011) Blue Horizon (2014) Coat of Arms (2020) References External links English progressive rock groups Musical groups established in 1969 Musical quartets English rock music groups I.R.S. Records artists Decca Records artists 1969 establishments in England	true	[ "Jugendstilsenteret is an Art Nouveau Center located in central Ålesund, in Møre og Romsdal, Norway.\n\nJugendstilsenteret is part of the Foundation Cultural Quarter in Ålesund. The Art Nouveau Center is located in the former Art Nouveau designed building of Swan Pharmacy (Svaneapoteket i Ålesund). The building itself was designed by Norwegian architect Hagbarth Martin Schytte-Berg (1860-1944) and built between 1905 and 1907. It was the first listed Art Nouveau / Jugendstil monument in Ålesund (1984) and it includes the town's best preserved Art Nouveau interior. Jugendstilsenteret is an interpretive center exhibiting both modern multimedia exhibitions and international art. The Art Nouveau center was opened by Queen Sonja of Norway on June 6, 2003. The center was selected as the millennium site for Møre og Romsdal county.\n\nSee also\nJugendstil\n\nReferences\n\nExternal links\n Jugendstilsenteret - The Art Nouveaus Centre\n A European network of Art Nouveau cities\n Pictures of the former Swam Pharmacy\n \n\n2003 establishments in Norway\nArt museums established in 2003\nMuseums in Møre og Romsdal\nArchitecture museums\nArt Nouveau architecture in Norway\nArt museums and galleries in Norway\nBuildings and structures in Ålesund\nCommercial buildings completed in 1907\nArt Nouveau collections\nArt Nouveau retail buildings\nArt Nouveau museum buildings\nMillennium sites", "The Faenza theatre () is the oldest movie theatre in Bogotá, Colombia. It was opened on the site of a former ceramic () factory on 3 April 1924 with the screening of a French film. The theatre was listed as a National Monument of Colombia on 11 August 1975 under decree 1584.\n\nThe building is an example of Art Nouveau architecture. After falling into disrepair, the theatre was restored from 2004 to 2007.\n\nReferences\n\nTheatres completed in 1924\nArt Nouveau theatres\nTheatres in Bogotá\nArt Nouveau architecture in Colombia" ]
[ "Wishbone Ash", "Reunions and departures (1987-1994)", "How where the band members in 1987?", "Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner", "Did they release an album?", "record the album Nouveau Calls, released in February 1988.", "Did they go on tour?", "The original line-up's tour of 1988 was a huge success,", "Was the tour international?", "I don't know.", "Was there an album after Nouveau Calls?", "In August 1989, the band released a reunion album" ]	C_db0b5d1331414d28b15ad487055ce4eb_0	What songs did the reunion album have?	6	What songs did the Wishbone Ash reunion album have?	Wishbone Ash	In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER	mainly songs written by Ted and Martin Turner.	Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone). Melody Maker (1972) described Powell and Turner as "the most interesting two guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth. Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield. The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future. History Formation and rise to fame (1969–1980) Wishbone Ash were formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner left the trio and returned to his native Devon, their manager, Miles Copeland III advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'. In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records. The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage. The band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3). The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world. The band had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves. In December 1973, the band released a double live album, Live Dates. There was an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores. Not long after, guitarist Ted Turner left the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974). Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player. 1976's New England returned to the traditional Wishbone Ash style. Front Page News (1977) was the band's last album of this period that was recorded in the US. In 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner. The band spent six months making the next album, Just Testing which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer / frontman, thus restricting Martin Turner's duties to bass guitar only. Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house, Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management. Line-up changes (1981–1986) Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. Reunions and departures (1987–1994) In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. Reunion years to present (1995–present) At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album. Illuminations was released in 1996 and featured the Powell, Filgate, Kishman, Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album. In 1997, Filgate, Kishman, and Sturgis departed, so Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that was a clubland smash and reached number 38 on the UK dance chart. Psychic Terrorism followed. The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD. In 2001, Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album. 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s. Ben Granfelt left the band in 2004 to continue working on his solo career. Granfelt's mentor, Muddy Manninen joined the band. In late 2006, the band released a new studio album entitled Clan Destiny. In 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band released Power of Eternity; their first with new member Joe Crabtree. On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989. In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided. The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception. On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive indeed. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history. On 16 May 2015, Wishbone Ash recorded a live to vinyl album at Metropolis Studios. On 21–23 May 2015, Wishbone Ash recorded the DVD Live in Paris at in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell. In May 2017, it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining on guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England. On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and will release Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and was released on 10 January 2020. The second single "Back in the Day" was released on 7 February 2020. The album cover has been created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio. For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. In February 2022 Mike Truscott became Wishbone Ash's official drummer. Martin Turner - (Ex Wishbone Ash) Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012. In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner - (Ex Wishbone Ash)". Special events Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures. Personnel Current members Andy Powell – guitar, vocals (1969–present) Bob Skeat – bass, backing vocals (1997–present) Mark Abrahams – guitar (2017–present) Mike Truscott – drums, percussion (2022 - present) Former members Steve Upton – drums, percussion (1969–1990) Ted Turner – guitar, vocals, banjo (1969–1974; 1987–1994) Martin Turner – bass, vocals, keyboards (1969–1980; 1987–1991; 1995–1996) Laurie Wisefield – guitar, vocals, banjo (1974–1985) Joe Crabtree – drums, percussion (2007–2022) Discography Wishbone Ash (1970) Pilgrimage (1971) Argus (1972) Wishbone Four (1973) There's the Rub (1974) Locked In (1976) New England (1976) Front Page News (1977) No Smoke Without Fire (1978) Just Testing (1980) Number the Brave (1981) Twin Barrels Burning (1982) Raw to the Bone (1985) Nouveau Calls (1987) Here to Hear (1989) Strange Affair (1991) Illuminations (1996) Trance Visionary (1997) (electronic re-recordings) Psychic Terrorism (1998) (electronic re-recordings) Bare Bones (1999) (acoustic re-recordings) Bona Fide (2002) Clan Destiny (2006) Power of Eternity (2007) Elegant Stealth (2011) Blue Horizon (2014) Coat of Arms (2020) References External links English progressive rock groups Musical groups established in 1969 Musical quartets English rock music groups I.R.S. Records artists Decca Records artists 1969 establishments in England	true	[ "Whatever the Road is a studio album by Jason Crabb. Reunion Records released the album on September 18, 2015. Crabb worked with Jason Ingram and Paul Mabury, in the production of this album.\n\nCritical reception\n\nAwarding the album four and a half stars from CCM Magazine, Kevin Sparkman writes, \"We certainly agree that the music is wonderful.\" DeWayne Hamby, reviewing the album for Charisma, writes, \"one of Christian music's most distinctive vocalist continues to expand his audience with Whatever the Road...10 songs about Jesus, freedom, heaven, life and encouragement.\"\n\nJonathan Andre, rating the album four stars at 365 Days of Inspiring Media, states, \"Whatever the Road is an example of an album that reminds us all what good quality singing is all about, and what it means production-wise to have the likes of Paul Mabury and Jason Ingram helping with an album.\" Giving the album four and a half stars for The Christian Beat, Sarah Baylor says, \"Jason has crafted such a genuine and heartfelt record that is so incredibly relatable to each and every listener.\"\n\nTrack listing\n\nCharts\n\nReferences\n\n2015 albums\nReunion Records albums", "A reunion is a gathering of individuals who have met previously or share ancestry, such as:\n\n Class reunion\n Family reunion\n\nReunion, Réunion, Reunions or The Reunion may also refer to:\n\nGeography\n Réunion, a French overseas department and island in the Indian Ocean\n Reunion, Commerce City, Colorado, United States\n Reunion, Florida, a resort neighborhood near Orlando, Florida, United States\n Holy Empire of Reunion, a Brazilian micronation that claims the French island as its territory\n Reunion District, Dallas, United States\n\nArchitecture\n Reunion Arena, an indoor arena in Dallas, Texas\n Reunion Tower, a building in Dallas, Texas, United States\n\nBooks \n Reunion (Uhlman novel), a 1971 German language novel by Fred Uhlman\n Reunion (Foster novel), a 2001 science fiction novel by Alan Dean Foster\n Reunion (Cabot novel), a 2005 young-adult novel by Meg Cabot\n \"Reunion\" (short story), a 1962 short story by John Cheever\n Reunion (play), a play by David Mamet\n Reunion (Buffy comic), a 2002 comic\n The Reunion (Animorphs), a book in the Animorphs science fiction series\n Force Heretic: Reunion, a novel by Sean Williams and Shane Dix\n Knights of the Old Republic: Reunion, a story arc in the Knights of the Old Republic series of comic books\n\nFilm and TV \n Reunion (1932 film), a British drama film\n Reunion (1936 film), a film by Norman Taurog\n Reunion (1980 film), a television film by Russ Mayberry\n Reunion (1989 film), a film based on the novella by Fred Uhlman\n Reunion (1977 film), a film by Michael Talbott\n Reunion (1985 film), a television film by Lee Grant\n Reunion (2001 film) or American Reunion, a film by Leif Tilden and Mark Poppi\n Reunion (2009 film), a film starring Derek Cecil\n Reunion (2012 film), a Japanese film by Ryoichi Kimizuka\n Reunion (2018 film), a Bengali film\n Reunion (2020 film), a New Zealand horror film\n The Reunion (1963 film), an Italian comedy film\n The Reunion (2011 American film), an action film by Michael Pavone\n The Reunion (2011 Danish film), a comedy film by Niels Nørløv\n The Reunion (2012 film), a Filipino comedy-drama romance film\n The Reunion (2013 film), a Swedish film\n The Dukes of Hazzard: Reunion!, a 1997 made-for-television film\n\nTelevision \n Reunion (TV series), a 2005 American drama series\n The Reunion (TV series), a Singaporean series\n Dynasty: The Reunion, a 1991 miniseries\n Reunion with James Brolin, a 1990 reality series\n \"Reunion\" (30 Rock)\n \"Reunion\" (Angel)\n \"Reunion\" (Gotham)\n \"Reunion\" (Harsh Realm)\n \"Reunion\" (Haven)\n \"Reunion\" (Law & Order: Criminal Intent)\n \"Reunion\" (Star Trek: The Next Generation)\n \"Reunion\" (Voltron: Legendary Defender)\n \"The Reunion\", an episode of Curb Your Enthusiasm\n \"Reunion\", an episode of Stargate Atlantis\n \"Reunion\", an episode of The Legend of Korra\n \"Reunion: The Remaining Time\", an episode of Naruto anime series\n\nGames\n Réunion (card game), a 19th-century German card game similar to skat\n Reunion (video game), a space strategy game developed by Amnesty Design in 1995\n X3: Reunion, a computer game produced by Egosoft and released late 2005\n\nMusic \n Reunion (band), an ad-hoc group of studio musicians which had a hit with \"Life Is a Rock (But the Radio Rolled Me)\"\n Re-Union, a Dutch duo who performed at the Eurovision Song Contest 2004\n Reunion Records, a Contemporary Christian music label\n\nAlbums \n Mel Tormé and the Marty Paich Dektette – Reunion (1988)\n Reunion: The Songs of Jimmy Webb, 1974 album by Glen Campbell\n Reunion (Black Sabbath album) (1998)\n Reunion (Art Ensemble of Chicago album) (2003)\n Reunion (Dune album), an unreleased album\n Reunion (Gary Burton album) (1989)\n Reunion (Odyssey the Band album), (1998)\n Reunion (The Rankin Family album) (2007)\n Reunion (Temptations album) (1982)\n Reunion (Country Joe and the Fish album) (1977)\n Reunion, a 2011 album by Viggo Mortensen\n The Reunion (Capone-N-Noreaga album) (2000)\n The Reunion (Rare Essence album) (2015)\nThe Reunion (George Shearing and Stéphane Grappelli album)\n Reunion (Junk Yard Band album) (1996)\n Doomed for Live – Reunion 2002, a live album by Candlemass\n Reunion: A Decade of Solas, the 2006 reunion album by Solas\n Reunion (Peter, Paul and Mary album), a 1978 reunion album by Peter, Paul and Mary\n Reunion, an album by Gary Benson (musician)\nThe Reunion, a 1972 Chinese-American opera album by Lisa Lu and company\n Re:Union, an album by Lego Big Morl\n Reunions (album), by Jason Isbell (2020)\n\nSongs \n \"Reunion\" (M83 song) (2012)\n \"Reunion\" (ClariS song) (2013)\n \"Reunion\", a 2012 song by the xx from coexist\n \"The Reunion\", a 2011 song by Bad Meets Evil from Hell: The Sequel\n \"Reunion\", a 2005 song by Les Incompétents\n \"Reunion\", a 1995 song by Collective Soul from Collective Soul\n \"Reunion\", a 1986 song by Erasure from Wonderland\n \"The Reunion\", a 1980 song by The Blades\n \"Reunion\", a 1976 song by Bobby Goldsboro\n \"A Reunion\", a 1973 song by Gentle Giant from In a Glass House\n \"Reunions\", a 1971 song by Carly Simon from her eponymous album\n\nSculpture\n Reunion (Gummer), a 1992 public sculpture by Don Gummer\n Reconciliation (Josefina de Vasconcellos sculpture) or Reunion\n\nOther uses \n Reunion (advertisement), a 2013 YouTube/television advertisement by Google India for Google Search\n Reunion (genealogy software)\n The Reunion (radio series) - BBC Radio 4 discussion programme\n Reunion.com or MyLife\n\nSee also \n Class Reunion (disambiguation)\n Family reunion (disambiguation)\n La Reunion (disambiguation)\n Adoption reunion registry" ]
[ "Wishbone Ash", "Reunions and departures (1987-1994)", "How where the band members in 1987?", "Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner", "Did they release an album?", "record the album Nouveau Calls, released in February 1988.", "Did they go on tour?", "The original line-up's tour of 1988 was a huge success,", "Was the tour international?", "I don't know.", "Was there an album after Nouveau Calls?", "In August 1989, the band released a reunion album", "What songs did the reunion album have?", "mainly songs written by Ted and Martin Turner." ]	C_db0b5d1331414d28b15ad487055ce4eb_0	Who recorded on the reunion album?	7	Who recorded the songs written by Ted and Martin Turner on the reunion album?	Wishbone Ash	In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. CANNOTANSWER	CANNOTANSWER	Wishbone Ash are a British rock band who achieved success in the early and mid-1970s. Their popular albums included Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974), and New England (1976). Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966. Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989), and to appear in the "Top 20 Guitarists of All Time" (Rolling Stone). Melody Maker (1972) described Powell and Turner as "the most interesting two guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth. Formed in Torquay, Devon, in 1969, out of the ashes of trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member Martin Turner (bass & vocals) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. The original Wishbone Ash line-up was completed by guitarists/vocalists Andy Powell and Ted Turner. In 1974, Ted Turner left the band, and was replaced by Laurie Wisefield. The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder), and Trapeze (Mervyn Spence), Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left in 1993. This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future. History Formation and rise to fame (1969–1980) Wishbone Ash were formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner left the trio and returned to his native Devon, their manager, Miles Copeland III advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'. In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records. The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage. The band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3). The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world. The band had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves. In December 1973, the band released a double live album, Live Dates. There was an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores. Not long after, guitarist Ted Turner left the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974). Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player. 1976's New England returned to the traditional Wishbone Ash style. Front Page News (1977) was the band's last album of this period that was recorded in the US. In 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner. The band spent six months making the next album, Just Testing which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer / frontman, thus restricting Martin Turner's duties to bass guitar only. Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house, Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management. Line-up changes (1981–1986) Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia. Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder. Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums. In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22). Bolder left the group to rejoin Uriah Heep in 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze). The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly by Phil Palmer. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle. Reunions and departures (1987–1994) In 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. For the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album Nouveau Calls, released in February 1988. The original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. In August 1989, the band released a reunion album with vocals entitled Here to Hear, featuring mainly songs written by Ted and Martin Turner. In 1990 the band went back into the studio to record the follow-up to Here to Hear. The band were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner. Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago. 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band. Reunion years to present (1995–present) At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman, and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album. Illuminations was released in 1996 and featured the Powell, Filgate, Kishman, Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album. In 1997, Filgate, Kishman, and Sturgis departed, so Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that was a clubland smash and reached number 38 on the UK dance chart. Psychic Terrorism followed. The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD. In 2001, Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album. 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s. Ben Granfelt left the band in 2004 to continue working on his solo career. Granfelt's mentor, Muddy Manninen joined the band. In late 2006, the band released a new studio album entitled Clan Destiny. In 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band released Power of Eternity; their first with new member Joe Crabtree. On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989. In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided. The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception. On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive indeed. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history. On 16 May 2015, Wishbone Ash recorded a live to vinyl album at Metropolis Studios. On 21–23 May 2015, Wishbone Ash recorded the DVD Live in Paris at in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell. In May 2017, it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining on guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England. On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and will release Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and was released on 10 January 2020. The second single "Back in the Day" was released on 7 February 2020. The album cover has been created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio. For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. In February 2022 Mike Truscott became Wishbone Ash's official drummer. Martin Turner - (Ex Wishbone Ash) Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012. In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner - (Ex Wishbone Ash)". Special events Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures. Personnel Current members Andy Powell – guitar, vocals (1969–present) Bob Skeat – bass, backing vocals (1997–present) Mark Abrahams – guitar (2017–present) Mike Truscott – drums, percussion (2022 - present) Former members Steve Upton – drums, percussion (1969–1990) Ted Turner – guitar, vocals, banjo (1969–1974; 1987–1994) Martin Turner – bass, vocals, keyboards (1969–1980; 1987–1991; 1995–1996) Laurie Wisefield – guitar, vocals, banjo (1974–1985) Joe Crabtree – drums, percussion (2007–2022) Discography Wishbone Ash (1970) Pilgrimage (1971) Argus (1972) Wishbone Four (1973) There's the Rub (1974) Locked In (1976) New England (1976) Front Page News (1977) No Smoke Without Fire (1978) Just Testing (1980) Number the Brave (1981) Twin Barrels Burning (1982) Raw to the Bone (1985) Nouveau Calls (1987) Here to Hear (1989) Strange Affair (1991) Illuminations (1996) Trance Visionary (1997) (electronic re-recordings) Psychic Terrorism (1998) (electronic re-recordings) Bare Bones (1999) (acoustic re-recordings) Bona Fide (2002) Clan Destiny (2006) Power of Eternity (2007) Elegant Stealth (2011) Blue Horizon (2014) Coat of Arms (2020) References External links English progressive rock groups Musical groups established in 1969 Musical quartets English rock music groups I.R.S. Records artists Decca Records artists 1969 establishments in England	false	[ "Family Reunion is a 1975 album by American R&B group The O'Jays.\n\nReception\n\nThe album was released in late 1975 on the Philadelphia International Records label. Recorded at Sigma Sound Studios in Philadelphia, and produced by Kenny Gamble and Leon Huff, Family Reunion includes the enduring classic \"I Love Music\" and \"Livin' for the Weekend\", both of which topped the R&B singles chart, and placed at #5 and #20 respectively on the pop chart. The ballad \"Stairway to Heaven\", originally issued as the B-side to \"Livin' for the Weekend\" and unrelated to the Led Zeppelin song of the same name, has also gone on to become a staple of quiet storm radio programming. While the title track did not chart, it still garnered airplay, as the lyrics (as well as the album artwork) focused on the importance of the family structure especially at gatherings.\n\nFamily Reunion became the group's third consecutive R&B chart-topping album, and its #7 peak on the pop chart was their highest placing on this chart at the time (1978's So Full of Love would peak one place higher). Family Reunion was awarded a Platinum Album for RIAA Certification of over one million copies sold.\n\nTrack listing\n\nCharts\nAlbum\n\nSingles\n\nSee also\nList of number-one R&B albums of 1975 (U.S.)\n\nReferences\n\nExternal links\n Family Reunion at Discogs\n\n1975 albums\nThe O'Jays albums\nAlbums produced by Kenneth Gamble\nAlbums produced by Leon Huff\nAlbums arranged by Bobby Martin\nAlbums recorded at Sigma Sound Studios\nPhiladelphia International Records albums", "Real Time: Royal Festival Hall, London, 06.05.05 is a live album by Van der Graaf Generator, released in 2007 on Fie! Records (the label owned by the group's singer and principal songwriter Peter Hammill). It contains the entire recording of the group's reunion concert at the Royal Festival Hall in London, England on 6 May 2005. The album includes at least one song from every album released between 1970-1976, plus their 2005 reunion album Present. Nothing is included from 1969's Aerosol Grey Machine and The Quiet Zone/The Pleasure Dome, released in 1977 after Hugh Banton and David Jackson left the group. The album also contains \"(In the) Black Room\", a song performed live by Van der Graaf Generator in 1972 (a rehearsal recording was released on the collection Time Vaults); following the band's August 1972 breakup, it was released on Peter Hammill's 1973 solo album Chameleon in the Shadow of the Night, with Banton, Evans and Jackson all performing on the track.\n\nThe Japanese release of the album includes a bonus disc of three songs recorded live at the reunion tour that followed the Royal Festival Hall concert, plus one track of improvisation recorded while the group were soundchecking (\"Gibberish\").\n\nTrack listing\n\nDisc One \n\n(*) Peter Hammill solo album.\n\nDisc Two\n\nBonus tracks on the Japanese edition (released on Strange Days Records)\n\nPersonnel \nVan der Graaf Generator\n Hugh Banton – organ, bass pedals\n Guy Evans – drums\n Peter Hammill – vocals, guitar, pianos\n David Jackson – saxophones, flute\n\nReferences\n\nExternal links \n Van der Graaf Generator - Real Time: Royal Festival Hall, London, 06.05.05 (2007) album review by François Couture, credits & releases at AllMusic.com\n \n \n\nReal Time\n2007 live albums\nLive progressive rock albums" ]
[ "Women in Finland", "In History" ]	C_9b6fad8313f74900bf2fb6c40c2e7caa_0	What contributions have women in Finland made to history?	1	What contributions have women in Finland made to history?	Women in Finland	In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Abo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company can't be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. CANNOTANSWER	Women were given the right to teach in grammar schools for girls in 1882.	Women in Finland enjoy a "high degree of equality" and "traditional courtesy" among men. In 1906, the women of Finland became the first women in Europe to be granted the right to vote. There are many women in Finland who hold prominent positions in Finnish society, in the academics, in the field of business, and in the government of Finland. An example of powerful women in Finnish politics is Tarja Halonen, who became the first female president of the country (she was Foreign Minister of Finland before becoming president). In religion, where most of the Finnish people are members of the Evangelical Lutheran Church of Finland (the other major Christian denomination in Finland is the Eastern Orthodox Church), women can be ordained as priests. In terms of finance, Finnish women have been described as "usually independent financially". Married women, by custom, introduce themselves by mentioning their forename first, then their maiden name, and then the surname of their husbands. The Telegraph wrote in 2006: Location Finland is bordered on the east by Russia, on the south by the Gulf of Finland and Estonia, and on the west by the Gulf of Bothnia and Sweden, and on the north/north west by Norway. One quarter of the territory is north of the Arctic Circle. Population By gender (2020) Total population: 5,533,793 Men population: 2,733,808 Women population: 2,799,985 Life expectancy (2020) Life expectancy in years for total population: 81.82 Male: 79.03 years Female: 84.62 years Women's suffrage The area that in 1809 became Finland was a group of integral provinces of the Kingdom of Sweden for over 600 years, signifying that also women in Finland were allowed to vote during the Swedish Age of Liberty (1718–1772), when suffrage was granted to tax-paying female members of guilds. The predecessor state of modern Finland, the Grand Duchy of Finland was part of the Russian Empire from 1809 to 1917 and enjoyed a high degree of autonomy. In 1863 taxpaying women were granted municipal suffrage in the countryside, and in 1872, the same reform was given to the cities. The Parliament Act in 1906 established the unicameral parliament of Finland and both women and men were given the right to vote and stand for election. Thus Finnish women became the first in the world to have unrestricted rights both to vote and to stand for parliament. In elections the next year, 19 female MPs, first ones in the world, were elected and women have continued to play a central role in the nation's politics ever since. Miina Sillanpää, a key figure in the worker's movement, became the first female minister in 1926. Finland's first female President Tarja Halonen was voted into office in 2000 and for a second term in 2006. Since the 2011 parliamentary election, women's representation stands at 42.5%. In 2003 Anneli Jäätteenmäki became the first female Prime Minister of Finland, and in 2007 Matti Vanhanen's second cabinet made history as for the first time there were more women than men in the cabinet of Finland (12 vs. 8). Women's rights movement In 1970 there was a brief but strong women's movement. Rape in marriage was not considered a crime at the time, and victims of domestic violence had few places to go. Feminists also fought for a day-care system that would be open to the public, and for the right for not only paid maternity leave but also paternity leave. Today there is a 263-day parental leave in Finland. It is illegal to discriminate against women in the workforce. Two feminist groups were created to help the movement: The Marxist-Feminists () and The Red Women (, ). The feminists in Finland were inspired by other European countries such as Sweden and Switzerland. Other important groups for the Finnish women in the 1970s include Unioni and The Feminists (). Women's rights Finland became one of the first countries to grant women the right to vote, and still today they are among the top countries for women equality. Finland was voted second in the Global Gender Gap Index in women's rights. Finland made marital rape illegal in 1994. In 2003 the government of Finland proposed addressing issues with gender inequality. They planned to promote gender equality over the entire public administration, reform the Act on Equality () that the men and women in Finland share, promote equal pay for work of equal value, increase the number of women in political and economic roles, assessing gender equality from the male point of view, prevent domestic violence and intimate partner violence, protect victims of trafficking and the possibility of criminalizing buying sex. This act is called the Government Action Plan for Gender Equality () and it included more than 100 issues that needed discussion. Education In history In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Åbo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company cannot be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. Today Finland students start their schooling a year after a lot of other countries. In spite of this, Finland is now one of the top-performing countries in mathematical skills, but also one of the few whose boys performed as well as girls. While in most countries the most able girls lag behind the most able boys in mathematics performance, according to the PISA 2012 Results Overview, the OECD gender score difference in mathematics, reading, and science was a result of -6 (boys - girls) in Finland. Additionally, while the highest-performing students of problem solving in the world are largely males, Finland makes an exception where the proportion of top-performing females is about the same as the proportion of top-performing males. This is also true among the Survey of Adult Skills (PIAAC) where the top-performers in problem solving are predominantly men, except for in Finland, Australia and Canada. As for Finland's educational benefits for students, Finnish schools offer state-funded schooling which makes it easier for women and men to go to work after being on parental leave. Women represent 32% of students studying in mathematics and computer science. Women in the workforce According to the Finnish Labor Force Survey around 32% of the 301,000 people who are self-employed are women. Women first became involved in labor markets through agrarian societies. Even before the public daycare systems, the number of women in the workforce was still very high, over 50%. The number of workers in the labor force that makes up the females (ages 15–74) is 51%, where men is 49%. 32% of the women are involved in entrepreneurship. Equality in the workforce Employers who have at least 30 employees must have a gender equality plan that includes a women's and men's pay comparison. The Ministry of Social Affairs and Health and other important labor market organizations set guidelines for gender equality planning. Women in the military Military service is required for men in Finland, but is voluntary for women. Women who enlist are allowed to train for combat roles. Finland is one of 16 other countries in the world that permit women in front-line combat positions. Recreation In using the sauna, women bathe separately from men, except if they are with family members or friends. See also Demographics of Finland References External links Finland, everyculture.com Finland, Cultural Etiquette, eDiplomat Finnish women Finland	true	[ "Kaija Salopuro (born 1938) is a Finnish former footballer, who won five women's football championships with Helsingin Jalkapalloklubi between 1971 and 1975. She later worked for the Football Association of Finland, and won multiple awards for her contributions to Finnish women's football.\n\nPersonal life\nSalopuro is from Ylivieska, Finland. In her early life, she participated in baseball and athletics.\n\nCareer\nSalopuro moved to Helsinki to work in the offices of Helsingin Jalkapalloklubi sports club (HJK). At the time, the club was considering the creation of a women's football club. In 1971, Salopuro was the first captain of the Helsingin Jalkapalloklubi women's team. None of the players were initially paid for their participation. Between 1971 and 1975, she won five Finnish Football Championships as HJK captain. HJK also won the 1971 Finnish Women's Cup, beating Vaasan Palloseura 6-0 in the final. The match was apparently attended by just two men, who heckled the players.\n\nSalopuro worked in the offices of HJK until 1976, when she moved to work for the Football Association of Finland. In the 1980s she worked with the Finland women's national football team. Salopuro retired from the Finnish Football Association in 2003.\n\nAwards\n\nIn 2006, she was the first recipient of the award for contributions to women's football. The award was named after Salopuro. In 2010, she was entered into the . In 2012, she won the Finnish . In 2013, she was inducted into HJK's Hall of Fame.\n\nReferences\n\n1938 births\nLiving people\nFinnish women's footballers\nPeople from Ylivieska\nFootball Federation of Finland executives\nWomen's association footballers not categorized by position", "Uusi Nainen (meaning New Women in English) was a Finnish communist women's magazine published in Helsinki, Finland.\n\nHistory\nThe magazine existed between 1945 and 2008. The founder organization was Suomen Naisten Demokraattinen Liitton (Finnish Women's Democratic Organization). It had a different approach in contrast to mainstream women's magazines in the 1960s which made the magazine a progressive alternative to the others. Because it criticised fashion and commercial culture. However, Uusi Nainen overtly carried Soviet propaganda and was under the control of and financed by the Communist Party of Finland, which in turn, was closely related to the Communist Party of the Soviet Union. The magazine became the media outlet of Finnish Women's Democratic League in 1990.\n\nReferences\n\n1945 establishments in Finland\n2008 disestablishments in Finland\nCommunist magazines\nDefunct political magazines published in Finland\nFinnish-language magazines\nMagazines established in 1945\nMagazines disestablished in 2008\nMagazines published in Helsinki\nPropaganda newspapers and magazines\nWomen's magazines published in Finland" ]
[ "Women in Finland", "In History", "What contributions have women in Finland made to history?", "Women were given the right to teach in grammar schools for girls in 1882." ]	C_9b6fad8313f74900bf2fb6c40c2e7caa_0	What is historically significant about women in Finland?	2	What is historically significant about women in Finland?	Women in Finland	In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Abo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company can't be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. CANNOTANSWER	After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870,	Women in Finland enjoy a "high degree of equality" and "traditional courtesy" among men. In 1906, the women of Finland became the first women in Europe to be granted the right to vote. There are many women in Finland who hold prominent positions in Finnish society, in the academics, in the field of business, and in the government of Finland. An example of powerful women in Finnish politics is Tarja Halonen, who became the first female president of the country (she was Foreign Minister of Finland before becoming president). In religion, where most of the Finnish people are members of the Evangelical Lutheran Church of Finland (the other major Christian denomination in Finland is the Eastern Orthodox Church), women can be ordained as priests. In terms of finance, Finnish women have been described as "usually independent financially". Married women, by custom, introduce themselves by mentioning their forename first, then their maiden name, and then the surname of their husbands. The Telegraph wrote in 2006: Location Finland is bordered on the east by Russia, on the south by the Gulf of Finland and Estonia, and on the west by the Gulf of Bothnia and Sweden, and on the north/north west by Norway. One quarter of the territory is north of the Arctic Circle. Population By gender (2020) Total population: 5,533,793 Men population: 2,733,808 Women population: 2,799,985 Life expectancy (2020) Life expectancy in years for total population: 81.82 Male: 79.03 years Female: 84.62 years Women's suffrage The area that in 1809 became Finland was a group of integral provinces of the Kingdom of Sweden for over 600 years, signifying that also women in Finland were allowed to vote during the Swedish Age of Liberty (1718–1772), when suffrage was granted to tax-paying female members of guilds. The predecessor state of modern Finland, the Grand Duchy of Finland was part of the Russian Empire from 1809 to 1917 and enjoyed a high degree of autonomy. In 1863 taxpaying women were granted municipal suffrage in the countryside, and in 1872, the same reform was given to the cities. The Parliament Act in 1906 established the unicameral parliament of Finland and both women and men were given the right to vote and stand for election. Thus Finnish women became the first in the world to have unrestricted rights both to vote and to stand for parliament. In elections the next year, 19 female MPs, first ones in the world, were elected and women have continued to play a central role in the nation's politics ever since. Miina Sillanpää, a key figure in the worker's movement, became the first female minister in 1926. Finland's first female President Tarja Halonen was voted into office in 2000 and for a second term in 2006. Since the 2011 parliamentary election, women's representation stands at 42.5%. In 2003 Anneli Jäätteenmäki became the first female Prime Minister of Finland, and in 2007 Matti Vanhanen's second cabinet made history as for the first time there were more women than men in the cabinet of Finland (12 vs. 8). Women's rights movement In 1970 there was a brief but strong women's movement. Rape in marriage was not considered a crime at the time, and victims of domestic violence had few places to go. Feminists also fought for a day-care system that would be open to the public, and for the right for not only paid maternity leave but also paternity leave. Today there is a 263-day parental leave in Finland. It is illegal to discriminate against women in the workforce. Two feminist groups were created to help the movement: The Marxist-Feminists () and The Red Women (, ). The feminists in Finland were inspired by other European countries such as Sweden and Switzerland. Other important groups for the Finnish women in the 1970s include Unioni and The Feminists (). Women's rights Finland became one of the first countries to grant women the right to vote, and still today they are among the top countries for women equality. Finland was voted second in the Global Gender Gap Index in women's rights. Finland made marital rape illegal in 1994. In 2003 the government of Finland proposed addressing issues with gender inequality. They planned to promote gender equality over the entire public administration, reform the Act on Equality () that the men and women in Finland share, promote equal pay for work of equal value, increase the number of women in political and economic roles, assessing gender equality from the male point of view, prevent domestic violence and intimate partner violence, protect victims of trafficking and the possibility of criminalizing buying sex. This act is called the Government Action Plan for Gender Equality () and it included more than 100 issues that needed discussion. Education In history In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Åbo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company cannot be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. Today Finland students start their schooling a year after a lot of other countries. In spite of this, Finland is now one of the top-performing countries in mathematical skills, but also one of the few whose boys performed as well as girls. While in most countries the most able girls lag behind the most able boys in mathematics performance, according to the PISA 2012 Results Overview, the OECD gender score difference in mathematics, reading, and science was a result of -6 (boys - girls) in Finland. Additionally, while the highest-performing students of problem solving in the world are largely males, Finland makes an exception where the proportion of top-performing females is about the same as the proportion of top-performing males. This is also true among the Survey of Adult Skills (PIAAC) where the top-performers in problem solving are predominantly men, except for in Finland, Australia and Canada. As for Finland's educational benefits for students, Finnish schools offer state-funded schooling which makes it easier for women and men to go to work after being on parental leave. Women represent 32% of students studying in mathematics and computer science. Women in the workforce According to the Finnish Labor Force Survey around 32% of the 301,000 people who are self-employed are women. Women first became involved in labor markets through agrarian societies. Even before the public daycare systems, the number of women in the workforce was still very high, over 50%. The number of workers in the labor force that makes up the females (ages 15–74) is 51%, where men is 49%. 32% of the women are involved in entrepreneurship. Equality in the workforce Employers who have at least 30 employees must have a gender equality plan that includes a women's and men's pay comparison. The Ministry of Social Affairs and Health and other important labor market organizations set guidelines for gender equality planning. Women in the military Military service is required for men in Finland, but is voluntary for women. Women who enlist are allowed to train for combat roles. Finland is one of 16 other countries in the world that permit women in front-line combat positions. Recreation In using the sauna, women bathe separately from men, except if they are with family members or friends. See also Demographics of Finland References External links Finland, everyculture.com Finland, Cultural Etiquette, eDiplomat Finnish women Finland	true	[ "The Finnish Rugby Federation (SRL) () is recognised as the national governing body for rugby in Finland. It is a member of several organisations, including World Rugby and Rugby Europe. The SRL was founded in 1968 and has as its members Finnish rugby clubs and the Finland Rugby Referees Association.\n\nSRL's mission is to develop the sport in Finland and support the local clubs in their activities. The organisation is responsible for the Men's XV National Team, Women's XV National Team, Finland women's national rugby union team (sevens), the Under-20 National Team and the Under-17 National Team. The SRL also administers and organises domestic rugby competitions in Finland.\n\nInterest in rugby in Finland has increased in recent years and SRL strongly believes that rugby has a future in Finland, where team and contact sports are appreciated. This is indicated by significant financial and organisational support by the Finnish Ministry of Education and local council sport departments.\n\nReferences\n\nExternal links\nFinnish Rugby Federation \nRugby Europe\nWorld Rugby\nFinnish Olympic Committee\n\nRugby union in Finland\nRu\nRugby union governing bodies in Europe\nSports organizations established in 1968", "Mainland Finland (, ) is a term used in statistics and in other contexts to describe the continental parts of Finland, an area which excludes Åland. In legal contexts, the relation between the mainland and Åland is depicted by the word pair the State–Åland (, ).\n\nThe term \"mainland Finland\" is significant in the context of legal differences between Åland and mainland Finland, and in the context of differences of culture, language, history, and self-perceived nationhood between the Ålanders and the Swedish-speaking Finns in mainland Finland. However, since the population of Åland is only about 0.5% of that of mainland Finland, and below 10% of that of the Swedish-speaking Finns in mainland Finland, there are many instances when this distinction is ignored.\n\nIn a geographical sense the term \"mainland Finland\" can be used to exclude Finland's other sea islands, but when distinguishing between Åland and the rest of Finland, the term encompasses those islands.\n\nReferences\n\nGeography of Finland\nNUTS 1 statistical regions of the European Union\nFinland" ]
[ "Women in Finland", "In History", "What contributions have women in Finland made to history?", "Women were given the right to teach in grammar schools for girls in 1882.", "What is historically significant about women in Finland?", "After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870," ]	C_9b6fad8313f74900bf2fb6c40c2e7caa_0	What happened after she was accepted?	3	What happened after Maria Tschetschulin was accepted as a university student in 1870?	Women in Finland	In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Abo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company can't be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. CANNOTANSWER	advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation),	Women in Finland enjoy a "high degree of equality" and "traditional courtesy" among men. In 1906, the women of Finland became the first women in Europe to be granted the right to vote. There are many women in Finland who hold prominent positions in Finnish society, in the academics, in the field of business, and in the government of Finland. An example of powerful women in Finnish politics is Tarja Halonen, who became the first female president of the country (she was Foreign Minister of Finland before becoming president). In religion, where most of the Finnish people are members of the Evangelical Lutheran Church of Finland (the other major Christian denomination in Finland is the Eastern Orthodox Church), women can be ordained as priests. In terms of finance, Finnish women have been described as "usually independent financially". Married women, by custom, introduce themselves by mentioning their forename first, then their maiden name, and then the surname of their husbands. The Telegraph wrote in 2006: Location Finland is bordered on the east by Russia, on the south by the Gulf of Finland and Estonia, and on the west by the Gulf of Bothnia and Sweden, and on the north/north west by Norway. One quarter of the territory is north of the Arctic Circle. Population By gender (2020) Total population: 5,533,793 Men population: 2,733,808 Women population: 2,799,985 Life expectancy (2020) Life expectancy in years for total population: 81.82 Male: 79.03 years Female: 84.62 years Women's suffrage The area that in 1809 became Finland was a group of integral provinces of the Kingdom of Sweden for over 600 years, signifying that also women in Finland were allowed to vote during the Swedish Age of Liberty (1718–1772), when suffrage was granted to tax-paying female members of guilds. The predecessor state of modern Finland, the Grand Duchy of Finland was part of the Russian Empire from 1809 to 1917 and enjoyed a high degree of autonomy. In 1863 taxpaying women were granted municipal suffrage in the countryside, and in 1872, the same reform was given to the cities. The Parliament Act in 1906 established the unicameral parliament of Finland and both women and men were given the right to vote and stand for election. Thus Finnish women became the first in the world to have unrestricted rights both to vote and to stand for parliament. In elections the next year, 19 female MPs, first ones in the world, were elected and women have continued to play a central role in the nation's politics ever since. Miina Sillanpää, a key figure in the worker's movement, became the first female minister in 1926. Finland's first female President Tarja Halonen was voted into office in 2000 and for a second term in 2006. Since the 2011 parliamentary election, women's representation stands at 42.5%. In 2003 Anneli Jäätteenmäki became the first female Prime Minister of Finland, and in 2007 Matti Vanhanen's second cabinet made history as for the first time there were more women than men in the cabinet of Finland (12 vs. 8). Women's rights movement In 1970 there was a brief but strong women's movement. Rape in marriage was not considered a crime at the time, and victims of domestic violence had few places to go. Feminists also fought for a day-care system that would be open to the public, and for the right for not only paid maternity leave but also paternity leave. Today there is a 263-day parental leave in Finland. It is illegal to discriminate against women in the workforce. Two feminist groups were created to help the movement: The Marxist-Feminists () and The Red Women (, ). The feminists in Finland were inspired by other European countries such as Sweden and Switzerland. Other important groups for the Finnish women in the 1970s include Unioni and The Feminists (). Women's rights Finland became one of the first countries to grant women the right to vote, and still today they are among the top countries for women equality. Finland was voted second in the Global Gender Gap Index in women's rights. Finland made marital rape illegal in 1994. In 2003 the government of Finland proposed addressing issues with gender inequality. They planned to promote gender equality over the entire public administration, reform the Act on Equality () that the men and women in Finland share, promote equal pay for work of equal value, increase the number of women in political and economic roles, assessing gender equality from the male point of view, prevent domestic violence and intimate partner violence, protect victims of trafficking and the possibility of criminalizing buying sex. This act is called the Government Action Plan for Gender Equality () and it included more than 100 issues that needed discussion. Education In history In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Åbo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company cannot be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. Today Finland students start their schooling a year after a lot of other countries. In spite of this, Finland is now one of the top-performing countries in mathematical skills, but also one of the few whose boys performed as well as girls. While in most countries the most able girls lag behind the most able boys in mathematics performance, according to the PISA 2012 Results Overview, the OECD gender score difference in mathematics, reading, and science was a result of -6 (boys - girls) in Finland. Additionally, while the highest-performing students of problem solving in the world are largely males, Finland makes an exception where the proportion of top-performing females is about the same as the proportion of top-performing males. This is also true among the Survey of Adult Skills (PIAAC) where the top-performers in problem solving are predominantly men, except for in Finland, Australia and Canada. As for Finland's educational benefits for students, Finnish schools offer state-funded schooling which makes it easier for women and men to go to work after being on parental leave. Women represent 32% of students studying in mathematics and computer science. Women in the workforce According to the Finnish Labor Force Survey around 32% of the 301,000 people who are self-employed are women. Women first became involved in labor markets through agrarian societies. Even before the public daycare systems, the number of women in the workforce was still very high, over 50%. The number of workers in the labor force that makes up the females (ages 15–74) is 51%, where men is 49%. 32% of the women are involved in entrepreneurship. Equality in the workforce Employers who have at least 30 employees must have a gender equality plan that includes a women's and men's pay comparison. The Ministry of Social Affairs and Health and other important labor market organizations set guidelines for gender equality planning. Women in the military Military service is required for men in Finland, but is voluntary for women. Women who enlist are allowed to train for combat roles. Finland is one of 16 other countries in the world that permit women in front-line combat positions. Recreation In using the sauna, women bathe separately from men, except if they are with family members or friends. See also Demographics of Finland References External links Finland, everyculture.com Finland, Cultural Etiquette, eDiplomat Finnish women Finland	true	[ "Olivia Beale is a fictional character from the American drama series Journeyman. She is played by Moon Bloodgood.\n\nBeale was born in 1923 and became a foster child. Before 1948, Beale began to time travel into the future where she helped change the outcome of people's lives for the better. At some point she was sent to the late 1980s where she remained, apparently without a mission. Taking advantage of her situation, Beale worked at the Luna café as a waitress during the day, and went to Law school at night. By 1998 she was the Deputy District Attorney of San Francisco and engaged to Dan Vasser. In 1999, Beale was sent back to 1948 after the plane she was flying on crash into the ocean. This led to her being presumed dead by Dan and everyone else she left behind.\n\nWhen Dan begins time traveling at the start of the series, Beale joins him in the time periods to which he travels and often gives advice and help, normally arguing with Dan about the dangers of \"going off mission\". During Christmas 1948 she accepted the marriage proposal of Henry, played by John Dennis. Little is known about Henry, other than Livia has told him about her time traveling.\n\nAs the series continues, and as she learns what happened to Dan after she left him, Beale realizes that Dan was the target of her extended jump, and that her mission was to get Dan together with his wife, Katie (which happened because of Livia's supposed death).\n\nIt is said (mainly by fansites) that Beale died in the early 1990s, which was when Evan Pattison started traveling.\n\nLivia did not die in the 1990s. The show's creator, Kevin Falls, in an interview after Journeyman was cancelled, outlined some of the stories that would have happened had the show continued. One of those was that an elderly Livia was still alive in 2008 and would meet up with Dan.\n\nReferences\n\nAdoptee characters in television\nFictional Asian-American people\nFictional ghosts\nFictional American lawyers\nScience fiction television characters\nTelevision sidekicks\nTelevision characters introduced in 2007", "Louise Chevalier (1774 - died after 1801), was a French actor and opera singer. She was active in Russia in the French theater troupe of her spouse, the ballet dancer and playwright (Pierre Peicam), from 1797 until 1801. \n\nDuring her tenure in Russia, she was the lover of first the Master of the Stables, the court noble and emperor's favorite Ivan Kutaisov, and then of emperor Paul I of Russia. She was an important figure during the reign of Paul I, when she wielded great influence as a channel for supplicants to Kutaisov and the emperor, and reportedly accepted substantial sums as such, and attracted great animosity in St Petersburg. \n\nAfter the fall of Paul I in March 1801, she was asked to leave Russia by tsar Alexander. It is not confirmed what happened to her after this, though conflicting reports place her as a courtesan and a spy in Paris, in Germany and in Poland.\n\nReferences \n Шевалье-Пейкам // Энциклопедический словарь Брокгауза и Ефрона : в 86 т. (82 т. и 4 доп.). — СПб., 1890—1907.\n\n1774 births\n19th-century deaths\n19th-century French actresses\nFrench stage actresses\n19th-century Russian actresses\nRussian stage actresses\nMistresses of Paul of Russia\nDate of death missing\n18th-century French women opera singers" ]
[ "Women in Finland", "In History", "What contributions have women in Finland made to history?", "Women were given the right to teach in grammar schools for girls in 1882.", "What is historically significant about women in Finland?", "After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870,", "What happened after she was accepted?", "advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation)," ]	C_9b6fad8313f74900bf2fb6c40c2e7caa_0	Did most women attend college?	4	Did most women attend college in 1870 in Finland?	Women in Finland	In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Abo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company can't be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. CANNOTANSWER	in 1915, girls and boys started to receive the same education in the school system,	Women in Finland enjoy a "high degree of equality" and "traditional courtesy" among men. In 1906, the women of Finland became the first women in Europe to be granted the right to vote. There are many women in Finland who hold prominent positions in Finnish society, in the academics, in the field of business, and in the government of Finland. An example of powerful women in Finnish politics is Tarja Halonen, who became the first female president of the country (she was Foreign Minister of Finland before becoming president). In religion, where most of the Finnish people are members of the Evangelical Lutheran Church of Finland (the other major Christian denomination in Finland is the Eastern Orthodox Church), women can be ordained as priests. In terms of finance, Finnish women have been described as "usually independent financially". Married women, by custom, introduce themselves by mentioning their forename first, then their maiden name, and then the surname of their husbands. The Telegraph wrote in 2006: Location Finland is bordered on the east by Russia, on the south by the Gulf of Finland and Estonia, and on the west by the Gulf of Bothnia and Sweden, and on the north/north west by Norway. One quarter of the territory is north of the Arctic Circle. Population By gender (2020) Total population: 5,533,793 Men population: 2,733,808 Women population: 2,799,985 Life expectancy (2020) Life expectancy in years for total population: 81.82 Male: 79.03 years Female: 84.62 years Women's suffrage The area that in 1809 became Finland was a group of integral provinces of the Kingdom of Sweden for over 600 years, signifying that also women in Finland were allowed to vote during the Swedish Age of Liberty (1718–1772), when suffrage was granted to tax-paying female members of guilds. The predecessor state of modern Finland, the Grand Duchy of Finland was part of the Russian Empire from 1809 to 1917 and enjoyed a high degree of autonomy. In 1863 taxpaying women were granted municipal suffrage in the countryside, and in 1872, the same reform was given to the cities. The Parliament Act in 1906 established the unicameral parliament of Finland and both women and men were given the right to vote and stand for election. Thus Finnish women became the first in the world to have unrestricted rights both to vote and to stand for parliament. In elections the next year, 19 female MPs, first ones in the world, were elected and women have continued to play a central role in the nation's politics ever since. Miina Sillanpää, a key figure in the worker's movement, became the first female minister in 1926. Finland's first female President Tarja Halonen was voted into office in 2000 and for a second term in 2006. Since the 2011 parliamentary election, women's representation stands at 42.5%. In 2003 Anneli Jäätteenmäki became the first female Prime Minister of Finland, and in 2007 Matti Vanhanen's second cabinet made history as for the first time there were more women than men in the cabinet of Finland (12 vs. 8). Women's rights movement In 1970 there was a brief but strong women's movement. Rape in marriage was not considered a crime at the time, and victims of domestic violence had few places to go. Feminists also fought for a day-care system that would be open to the public, and for the right for not only paid maternity leave but also paternity leave. Today there is a 263-day parental leave in Finland. It is illegal to discriminate against women in the workforce. Two feminist groups were created to help the movement: The Marxist-Feminists () and The Red Women (, ). The feminists in Finland were inspired by other European countries such as Sweden and Switzerland. Other important groups for the Finnish women in the 1970s include Unioni and The Feminists (). Women's rights Finland became one of the first countries to grant women the right to vote, and still today they are among the top countries for women equality. Finland was voted second in the Global Gender Gap Index in women's rights. Finland made marital rape illegal in 1994. In 2003 the government of Finland proposed addressing issues with gender inequality. They planned to promote gender equality over the entire public administration, reform the Act on Equality () that the men and women in Finland share, promote equal pay for work of equal value, increase the number of women in political and economic roles, assessing gender equality from the male point of view, prevent domestic violence and intimate partner violence, protect victims of trafficking and the possibility of criminalizing buying sex. This act is called the Government Action Plan for Gender Equality () and it included more than 100 issues that needed discussion. Education In history In the late 18th century and early 19th century private schools for girls were established in Finland, among the more known being those of Christina Krook, Anna Salmberg and Sara Wacklin. These schools were criticized for its shallow education of accomplishments, which resulted in the decision that girls should be included in the school reform of 1843, and the following year, two Swedish-language state schools for girls was founded in Turku and Helsinki, Svenska fruntimmersskolan i Åbo and Svenska fruntimmersskolan i Helsingfors. This led to the establishment of a net of girl schools of a similar kind in Finland. At first the schools were reserved for girls from upper-class families. At this time it was not possible for the girls to pass the baccalaureate and move on to university studies. In 1865 a grammar school made it clear that only girls whose upbringing and manners were impeccable and whose company cannot be considered detrimental to others, and who were from "respectable" families could be in the school. After the first woman in Finland, Maria Tschetschulin, was accepted as a university student by dispensation in 1870, advanced classes and colleges classes were included in many girl schools to prepare students for university (by means of dispensation), and in 1872, the demand that all students must be members of the Swedish language upper classes was dropped. Women were given the right to teach in grammar schools for girls in 1882. When the dispensation for female university students was dropped and women were accepted at the same terms as men in 1915, girls and boys started to receive the same education in the school system, and the girl schools in Finland started to be changed to same sex education, a development which was completed in the 1970s. Today Finland students start their schooling a year after a lot of other countries. In spite of this, Finland is now one of the top-performing countries in mathematical skills, but also one of the few whose boys performed as well as girls. While in most countries the most able girls lag behind the most able boys in mathematics performance, according to the PISA 2012 Results Overview, the OECD gender score difference in mathematics, reading, and science was a result of -6 (boys - girls) in Finland. Additionally, while the highest-performing students of problem solving in the world are largely males, Finland makes an exception where the proportion of top-performing females is about the same as the proportion of top-performing males. This is also true among the Survey of Adult Skills (PIAAC) where the top-performers in problem solving are predominantly men, except for in Finland, Australia and Canada. As for Finland's educational benefits for students, Finnish schools offer state-funded schooling which makes it easier for women and men to go to work after being on parental leave. Women represent 32% of students studying in mathematics and computer science. Women in the workforce According to the Finnish Labor Force Survey around 32% of the 301,000 people who are self-employed are women. Women first became involved in labor markets through agrarian societies. Even before the public daycare systems, the number of women in the workforce was still very high, over 50%. The number of workers in the labor force that makes up the females (ages 15–74) is 51%, where men is 49%. 32% of the women are involved in entrepreneurship. Equality in the workforce Employers who have at least 30 employees must have a gender equality plan that includes a women's and men's pay comparison. The Ministry of Social Affairs and Health and other important labor market organizations set guidelines for gender equality planning. Women in the military Military service is required for men in Finland, but is voluntary for women. Women who enlist are allowed to train for combat roles. Finland is one of 16 other countries in the world that permit women in front-line combat positions. Recreation In using the sauna, women bathe separately from men, except if they are with family members or friends. See also Demographics of Finland References External links Finland, everyculture.com Finland, Cultural Etiquette, eDiplomat Finnish women Finland	true	[ "Antonia Tarrago was a feminist, activist and educator who is known for her efforts to expand women's access to education in Chile.\n\nEarly life and death \nAntonia Tarrago was born in Chile in the year 1832. She was an educator and feminist activist most known for her efforts to expand education for women giving them the right to attend college. She died in 1916.\n\nCareer \nAntonia Tarrago founded the Santa Teresa school in Santiago de Chile in 1864 to give women the opportunity to attend high school and continue their education. Tarrago wanted women to further develop their intelligence and their psychological skills. Tarrago was motivated by her feeling that the level of education for women was scarce mainly because the Chilean government did not provide sufficient funds, as the Chilean society did not see women's education as important. In 1872, Tarrago attempted to gain the government’s approval for the recognition of high school exams in order for girl's to apply to the University of Chile. Her pursuits were unsuccessful at this time. There was mass controversy inside the government as to whether they wanted women to pursue higher education and to remain in the role of homemakers. However, in 1877 with the joint efforts of Isabel Le Brun another educator, they founded the “Colegio de la Recoleta,” a school for women and with the change of government, the efforts of Antonia Tarrago were victorious. On February 5, 1877, the Secretary of Justice and Public Education, Miguel Luis Amunátegui signed the decree that allowed women to attend college. The Amunátegui Decree declared that women should be allowed to present tests to be admitted for college, following the same dispositions established for men.\n\nSee also \nAntonia Tarrago\n\nThe Amunátegui Decree\n\nReferences\n\nChilean women\nChilean educators\nChilean feminists", "Shafiqa Ziaie (born 1928) was an Afghan educator and cabinet minister. She belonged to the generation of pioneer women who attained public positions in Afghan society after the reforms of Mohammed Daoud Khan.\n\nLife\nShe was born in Kabul.\n\nShe was orphan, but completed her studies up to the 8th grade, which was not a given thing in Afghanistan, were most women did not attend school at all. She left school to take care of her two brothers and a sister, but still managed to take her annual exam and graduate from Malalay High School and attend Women's College.\n\nShe worked as an inspector of girls' schools. In 1960–1961, she studied French and Administration in Switzerland.\n\nShe served as Minister without Portfolio in 1971–1973.\n\nShe named Advisor for the Ministry of Planning in 1972.\n\nShe was appointed Minister of state for Women's Affairs in 1976.\n\nReferences \n\n M. Saed: Women in Afghanistan history\n Rahimi Fahima. ( 1977, with 1~ update of 1985 by Nancy Hatch Dupree), Women in Afghanistan /Frauen in Afghanistan, Kabul\n\n1928 births\nAfghan educators\nWomen government ministers of Afghanistan\nAfghan women activists\nAfghan feminists\nYear of death missing\n20th-century Afghan women politicians" ]
[ "The Birth of a Nation", "Home media and restorations" ]	C_f586dea2a2ab492b80e50687af4311f3_0	What media platforms is the film on?	1	What media platforms is the film The Birth of a Nation on?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white".	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	false	[ "Resident Evil is a Japanese video game and other media franchise.\n\nResident Evil may also refer to:\n\nList of Resident Evil media including:\nResident Evil (1996 video game), the PlayStation video game, later re-released on several other platforms\nResident Evil (2002 video game), the GameCube remake, later re-released on several other platforms\nResident Evil (film series)\nResident Evil (film), the first film of the series\nResident Evil (TV series)\n\"Resident Evil\" (The Vampire Diaries), an episode of the TV series The Vampire Diaries", "A web strategy is a long-term strategic business plan indicating how to create and develop a company's online presence adhering to the business development strategy.\n\nDescription \nDepending on the business maturity, immediate needs, and long-term goals, the programme should yield different results. e.g. if the business is only starting to tap into the online space, then the web strategy programme will outline how the business should position itself online, what online media it should use to spread its message, how it should communicate with the customers, what services and products it should provide online, and what supporting infrastructure for the online operation should be in place.\n\nA web strategy is created by a highly skilled business professional, the web strategist, who is knowledgeable in online trends, business, design, user experience and technology concepts and principles.\n\nImpact of social media \nOnce a web strategy is in place, one way of launching the website immediately onto the Internet is through social media. Facebook, Twitter, Instagram and other social media applications have become indispensable tools for business, as companies and their employees regularly engage directly with the public (that is, customers, potential customers and even competitors), actively ‘sharing’ information across various social media platforms.\n\nSocial media enables two-way communication and collaboration. Organisations can utilised it to great success building a competitive advantage, generating business and engaging with their customers on a more personal level. Brand awareness social media posts are like virtual flyers or the online equivalent of newspaper ads. They build name recognition and help your small business start to form a brand identity.\n\nAdvantages \n A way for businesses to broaden their exposure to the public at a much lower cost than traditional marketing\n Pay-per-click advertisements are geotargeted according to specific criteria, to reach the correct audience.\n Establishing a presence on widely used platforms can help target new customers and make the brand more visible\n Two-way communication facilitated by social media can improve customer service\n Enables businesses to gain new information about their customers\n Higher conversion rates. Social media is a place where brands can act like people do, and this is important because people like doing business with other people; not with companies.\n\nDisadvantages \n Followers are free to post their comments on these platforms, exposing the business to the possibility of negative publicity\n Hackers pose a threat to businesses on social media, i.e. false information can quickly go viral\n Updating the social media accounts takes time and effort\n Need to commit resources to managing your social media presence, responding to feedback and producing new content\n It can be difficult to quantify the return on investment and the value of one channel over another\n\nSee also \n Strategic planning\n Strategy\n Web development\n Web application development \n Virtual business\n Google Analytics\n\nReferences\n\nDigital marketing" ]
[ "The Birth of a Nation", "Home media and restorations", "What media platforms is the film on?", "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white\"." ]	C_f586dea2a2ab492b80e50687af4311f3_0	Which is the official version recorded on?	2	Which media platform is the official version recorded of The Birth of a Nation on?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	35mm print that was the source of Shepard's 16 mm print,	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	false	[ "\"Rich Man\" is the ninth single from the Dutch group Ten Sharp, released in March 1992. The music is composed by Niels Hermes and the lyrics are written by Ton Groen. There was no official video shot for this single.\n\nThe B-side \"You\" (acoustic version) was recorded in the Bullet Sound Studios on February 4, 1992.\n\nThere are actually two versions of \"Rich Man\": The CD-version of Under the Water-Line plays the regular and best-known version, while the LP plays an early version. Notable on this version is the absence of Hugo de Bruin's guitar-part and another brass-arrangement. This version is half a minute longer.\n\nTrack listings\n 7\" single\n \"Rich Man\" - 4:19\n \"Rich Man\" (Instrumental version) - 4:03\n\n CD-single\n \"Rich Man\" - 4:19\n \"You\" (Acoustic version) - 3:59\n \"All In Love Is Fair\" - 3:57\n \"Rich Man\" (Instrumental version) - 4:03\n\nCredits\n Vocals: Marcel Kapteijn\n Instruments and programming: Niels Hermes\n Additional drums on \"Rich Man\": Rob Jansen\n Horns on \"Rich Man\": Stylus Horns\n Photography by Roy Tee\n Produced by Michiel Hoogenboezem and Niels Hermes\n Recorded and mixed at Spitsbergen Studios and Wisseloord Studios\n\nReferences\n\nExternal links\n \"Rich Man\" on Discogs.com\n The official Ten Sharp website\n\n1992 singles\nTen Sharp songs\n1991 songs\nColumbia Records singles", "\"Into the Heart\" is the second studio single by British synthpop band Mirrors. The single was released in the UK on 2 November 2009 as a 7\" vinyl single and as a digital download on the Moshi Moshi Records label.\n\n\"Lights and Offerings\" was re-recorded during the Lights and Offerings album sessions in June 2010, but never mixed or finished for inclusion on the album. The Moshi Moshi version was however included on the Broken by Silence Tour EP.\n\nTrack listing\n\nRe-release\n\nThe song was re-released on 14 February 2011 on the Skint Records label to promote the \"Lights and Offerings\" album. This re-issue contained the re-recorded version, a new B-side and a new remix.\n\nA 12\" single will be released in Greece at the end of May on the Undo Records label which will be limited to 500 copies. It is currently unknown which tracks are going to be featured on the disc.\n\nNote that the 7\" contains a stand-alone version of \"Into the Heart\" with a full heartbeat outro whereas the digital release contains the album version excluding the interlude of 21 seconds which is simply cut off at the end of the song.\n\nTrack listing\n\nPersonnel\n James New\n Ally Young\n James Arguile\n Josef Page\n\nReferences\n\nExternal links\n Official Website\n Skint Records\n Official German Portal\n\n2009 singles\n2011 singles\n2009 songs" ]
[ "The Birth of a Nation", "Home media and restorations", "What media platforms is the film on?", "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white\".", "Which is the official version recorded on?", "35mm print that was the source of Shepard's 16 mm print," ]	C_f586dea2a2ab492b80e50687af4311f3_0	Where is the original now?	3	Where is the original 35mm print of The Birth of a Nation now?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	Museum of Modern Art's	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	true	[ "Strand sort is a recursive sorting algorithm that sorts items of a list into increasing order. It has O(n2) worst time complexity which occurs when the input list is reverse sorted. It has a best case time complexity of O(n) which occurs when the input is a list that is already sorted. Strand sort is not in-place as its space complexity is O(n).\n\nThe algorithm first moves the first element of a list into a sub-list. It then compares the last element in the sub-list to each subsequent element in the original list. Once there is an element in the original list that is greater than the last element in the sub-list, the element is removed from the original list and added to the sub-list. This process continues until the last element in the sub-list is compared to the remaining elements in the original list. The sub-list is then merged into a new list. Repeat this process and merge all sub-lists until all elements are sorted. This algorithm is called strand sort because there are strands of sorted elements within the unsorted elements that are removed one at a time. This algorithm is also used in J Sort for fewer than 40 elements.\n\nExample \nThis example is based on the description of the algorithm provided in the book, IT Enabled Practices and Emerging Management Paradigms.\n\nStep 1: Start with a list of numbers: {5, 1, 4, 2, 0, 9, 6, 3, 8, 7 }\n\nStep 2: Next move the first element of the list into a new sub-list: sub-list contains {5}\n\nStep 3: Then iterate through the original list and compare each number to 5 until there is a number greater than 5.\n\n 1 < 5 so 1 is not added to the sub-list.\n 4 < 5 so 4 is not added to the sub-list.\n 2 < 5 so 2 is not added to the sub-list.\n 0 < 5 so 0 is not added to the sub-list.\n 9 > 5 so 9 is added to the sub-list and removed from the original list.\n\nStep 4: Now compare 9 with the remaining elements in the original list until there is a number greater than 9. \n\n 6 < 9 so 6 is not added to the sub-list.\n 3 < 9 so 3 is not added to the sub-list.\n 8 < 9 so 8 is not added to the sub-list.\n 7 < 9 so 7 is not added to the sub-list.\n\nStep 5: Now there are no more elements to compare 9 to so merge the sub-list into a new list, called solution-list.\n\nAfter step 5, the original list contains {1, 4, 2, 0, 6, 3, 8, 7}\n\nThe sub-list is empty, and the solution list contains {5, 9}\n\nStep 6: Move the first element of the original list into sub-list: sub-list contains {1}\n\nStep 7: Iterate through the original list and compare each number to 1 until there is a number greater than 1.\n\n 4 > 1 so 4 is added to the sub-list and 4 is removed from the original list.\n\nStep 8: Now compare 4 with the remaining elements in the original list until there is a number greater than 4.\n\n 2 < 4 so 2 is not added to the sub-list.\n 0 < 4 so 0 is not added to the sub-list.\n 6 > 4 so 6 is added to the sub-list and is removed from the original list.\n\nStep 9: Now compare 6 with the remaining elements in the original list until there is a number greater than 6. \n\n 3 < 6 so 3 is not added to the sub-list.\n 8 > 6 so 8 is added to the sub-list and is removed from the original list.\n\nStep 10: Now compare 8 with the remaining elements in the original list until there is a number greater than 8.\n\n 7 < 8 so 7 is not added to the sub-list.\n\nStep 11: Since there are no more elements in the original list to compare {8} to, the sub-list is merged with the solution list. Now the original list contains {2, 0, 3, 7}, the sub-list is empty and the solution-list contains: {1, 4, 5, 6, 8, 9}.\n\nStep 12: Move the first element of the original list into sub-list. Sub-list contains {2}\n\nStep 13: Iterate through the original list and compare each number to 2 until there is a number greater than 2.\n\n 0 < 2 so 0 is not added to the sub-list.\n 3 > 2 so 3 is added to the sub-list and is removed from the original list.\n\nStep 14: Now compare 3 with the remaining elements in the original list until there is a number greater than 3.\n\n 7 > 3 so 7 is added to the sub-list and is removed from the original list.\n\nStep 15: Since there are no more elements in the original list to compare {7} to, the sub-list is merged with the solution list. The original list now contains {0}, the sub-list is empty, and solution list contains: {1, 2, 3, 4, 5, 6, 7, 8, 9}.\n\nStep 16: Move the first element of the original list into sub-list. Sub-list contains {0}.\n\nStep 17: Since the original list is now empty, the sub-list is merged with the solution list. The solution list now contains: {0, 1, 2, 3, 4, 5, 6, 7, 8, 9}. There are now no more elements in the original list, and all of the elements in the solution list have successfully been sorted into increasing numerical order.\n\nImplementation \nSince Strand Sort requires many insertions and deletions, it is best to use a linked list when implementing the algorithm. Linked lists require constant time for both insertions and removals of elements using iterators. The time to traverse through the linked list is directly related to the input size of the list. The following implementation is done in Java 8 and is based on the description of the algorithm from the book, IT Enabled Practices and Emerging Management Paradigms.package strandSort;\n\nimport java.util.;\n\npublic class strandSort {\n\tstatic LinkedList<Integer> solList = new LinkedList<Integer>();\n\tstatic int k = 0;\n\n\t/\n\t This is a recursive Strand Sort method. It takes in a linked list of\n\t * integers as its parameter. It first checks the base case to see if the\n\t * linked list is empty. Then proceeds to the Strand sort algorithm until\n\t * the linked list is empty.\n\t * \n\t * @param origList:\n\t * a linked list of integers\n\t */\n\tpublic static void strandSortIterative(LinkedList<Integer> origList) {\n\n\t\t// Base Case\n\t\tif (origList.isEmpty()) {\n\t\t\treturn;\n\t\t}\n\n\t\telse {\n\t\t\t// Create the subList and add the first element of\n\t\t\t// The original linked list to the sublist.\n\t\t\t// Then remove the first element from the original list.\n\t\t\tLinkedList<Integer> subList = new LinkedList<Integer>();\n\t\t\tsubList.add(origList.getFirst());\n\t\t\torigList.removeFirst();\n\n\t\t\t// Iterate through the original list, checking if any elements are\n\t\t\t// Greater than the element in the sub list.\n\t\t\tint index = 0;\n\t\t\tfor (int j = 0; j < origList.size(); j++) {\n\t\t\t\tif (origList.get(j) > subList.get(index)) {\n\t\t\t\t\tsubList.add(origList.get(j));\n\t\t\t\t\torigList.remove(j);\n\t\t\t\t\tj = j - 1;\n\t\t\t\t\tindex = index + 1;\n\t\t\t\t}\n\t\t\t}\n\t\t\t// Merge sub-list into solution list.\n\t\t\t// There are two cases for this step/\n\t\t\t// Case 1: The first recursive call, add all of the elements to the\n\t\t\t// solution list in sequential order\n\t\t\tif (k == 0) {\n\t\t\t\tfor (int i = 0; i < subList.size(); i++) {\n\n\t\t\t\t\tsolList.add(subList.get(i));\n\t\t\t\t\tk = k + 1;\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t\t// Case 2: After the first recursive call, \n\t\t\t// merge the sub-list with the solution list.\n\t\t\t// This works by comparing the greatest element in the sublist (which is always the last element)\n\t\t\t// with the first element in the solution list. \n\t\t\telse {\n\t\t\t\tint subEnd = subList.size() - 1;\n\t\t\t\tint solStart = 0;\n\t\t\t\twhile (!subList.isEmpty()) {\n\n\t\t\t\t\tif (subList.get(subEnd) > solList.get(solStart)) {\n\t\t\t\t\t\tsolStart++;\n\n\t\t\t\t\t} else {\n\t\t\t\t\t\tsolList.add(solStart, subList.get(subEnd));\n\t\t\t\t\t\tsubList.remove(subEnd);\n\t\t\t\t\t\tsubEnd--;\n\t\t\t\t\t\tsolStart = 0;\n\t\t\t\t\t}\n\n\t\t\t\t}\n\n\t\t\t}\n\n\t\t\tstrandSortIterative(origList);\n\t\t}\n\n\t}\n\n\tpublic static void main(String[] args) {\n\t\t// Create a new linked list of Integers\n\t\tLinkedList<Integer> origList = new LinkedList<Integer>();\n\n\t\t// Add the following integers to the linked list: {5, 1, 4, 2, 0, 9, 6, 3, 8, 7}\n\n\t\torigList.add(5);\n\t\torigList.add(1);\n\t\torigList.add(4);\n\t\torigList.add(2);\n\t\torigList.add(0);\n\t\torigList.add(9);\n\t\torigList.add(6);\n\t\torigList.add(3);\n\t\torigList.add(8);\n\t\torigList.add(7);\n\n\t\tstrandSortIterative(origList);\n\t\t// Print out the solution list\n\t\tfor (int i = 0; i < solList.size(); i++) {\n\t\t\tSystem.out.println(solList.get(i));\n\t\t}\n\n\t}\n\n}\n\nReferences \n\nSorting algorithms", "Kerrville is an unincorporated community in Platte County, in the U.S. state of Missouri. It is within the Kansas City metropolitan area.\n\nKerrville has the name of Ezra Kerr, the original owner of the land where the community now is located.\n\nReferences\n\nUnincorporated communities in Platte County, Missouri\nUnincorporated communities in Missouri" ]
[ "The Birth of a Nation", "Home media and restorations", "What media platforms is the film on?", "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white\".", "Which is the official version recorded on?", "35mm print that was the source of Shepard's 16 mm print,", "Where is the original now?", "Museum of Modern Art's" ]	C_f586dea2a2ab492b80e50687af4311f3_0	How has the film been restored since?	4	How has the film The Birth of a Nation's been restored?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	this time in a 2-DVD set with added extras on the second disc.	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	true	[ "is a 1928 Japanese black-and-white silent film with benshi accompaniment directed by Shozo Makino. It was an epic created to commemorate Makino's 50th birthday and is based on the classic theme of Chūshingura. During the production of this film, a fire broke out, destroying parts of the original film, but it has since been restored.\n\nExternal links\n \n\n1928 films\nJapanese films\nFilms about the Forty-seven Ronin\nJapanese silent films\n1920s historical films\nJapanese black-and-white films", "Robert A. Harris (born 1945) is an American film historian, archivist, and film preservationist.\n\nLife \nRobert A. Harris was born in 1945.\n\nHarris is often working with James C. Katz and has restored such films as Lawrence of Arabia, Vertigo, and My Fair Lady.\n\nHe was also a producer of two films: The Grifters (1990) and Space Avenger (1990).\n\nRestorations \n Lawrence of Arabia (1962), restored 1989\n Spartacus (1960), restored 1991\n My Fair Lady (1964), restored 1994\n Vertigo (1958), restored 1996\n Rear Window (1954), restored 2000\n Williamsburg: the Story of a Patriot (1956), restored 2004\n The Godfather (1972), restored 2008\n The Godfather Part II (1974), restored 2008\n It's a Mad, Mad, Mad, Mad World (1963), restored 2013\n Triumph of the Will (1935), restored 2015\n\nPublished works\n\nAwards and legacy \nHarris and James C. Katz received the King Vidor Award for Excellence in Filmmaking at the 2000 San Luis Obispo International Film Festival.\n\nIn 2010, Harris was honored by the International Press Academy with its Nikola Tesla Award for Visionary Achievement in Filmmaking Technology.\n\nThe Academy Film Archive of the Academy of Motion Picture Arts and Sciences is home to the Robert A. Harris Collection, which consists of film, video tape, and audio material related to Harris' restoration work; it includes over 1,100 items.\n\nReferences\n\nExternal links \n \n Yellow Layer Failure, Vinegar Syndrome and Miscellaneous Musings: Harris' column at The Digital Bits (2002–2009) Note, this is a site archive, and its hyperlinks have to be manually modified to allow viewing.\n\nAmerican film producers\n1945 births\nLiving people\nAmerican film historians\nPlace of birth missing (living people)\nAmerican male non-fiction writers\nFilm preservation\nAmerican archivists" ]
[ "The Birth of a Nation", "Home media and restorations", "What media platforms is the film on?", "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white\".", "Which is the official version recorded on?", "35mm print that was the source of Shepard's 16 mm print,", "Where is the original now?", "Museum of Modern Art's", "How has the film been restored since?", "this time in a 2-DVD set with added extras on the second disc." ]	C_f586dea2a2ab492b80e50687af4311f3_0	Is the film critically acclaimed?	5	Is the film The Birth of a Nation critically acclaimed?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	CANNOTANSWER	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	false	[ "Main Maa Punjab Dee (1998) is a critically acclaimed Punjabi-language film written and directed by Balwant Dullat. The film starred Dara Singh, Manjeet Kullar, Bhagwant Mann, Deepak Saraf, Neeru Singh, Shavinder Mahal and Ravinder Mann. The music was by Kuldeep Singh (Ankush fame) . The film was critically acclaimed and received the National Film Award for Best Feature Film in Punjabi. Manjeet Kullar considered her work in the film, \"one of my best performances.\"\n\nThe film is an \"exploration of a suffering mother who undergoes the trauma created by her own sons and discovers her creative talent and rehabilitates herself.\"\n\nReferences\n\nExternal links \n \n\n1990s Punjabi-language films\n1998 films\nFilms shot in Punjab, India\nBest Feature Film National Film Award winners\n\nBest Punjabi Feature Film National Film Award winners", "Souleymane Démé (born 1986) is a Chadian actor. He is most notable for the critically acclaimed role in the film GriGris in which he played the titular role.\n\nFilmography\n\nReferences\n\nExternal links\n \n\nLiving people\nChadian actors\n1986 births" ]
[ "The Birth of a Nation", "Home media and restorations", "What media platforms is the film on?", "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white\".", "Which is the official version recorded on?", "35mm print that was the source of Shepard's 16 mm print,", "Where is the original now?", "Museum of Modern Art's", "How has the film been restored since?", "this time in a 2-DVD set with added extras on the second disc.", "Is the film critically acclaimed?", "I don't know." ]	C_f586dea2a2ab492b80e50687af4311f3_0	What other restorations were there aside from the DVDs?	6	What other restorations of The Birth of a Nation where there, aside from the DVDs?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period.	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	false	[ "This article lists the episodes attributed to the anime version of MÄR: Märchen Awakens Romance. It aired in Japan between April 2005 and March 25, 2007, containing 102 episodes. The anime of MAR is an oddity among most anime in that it continued long after the manga had ended. Rather than follow what was originally set by the author, the anime expanded upon the source material by adding additional battles during the climax and having a somewhat different ending. The anime was licensed by Viz Media and aired on Cartoon Network's online broadband service Toonami Jetstream and, for a limited time, on their television programming block Toonami, until they stopped airing it for unknown reasons.\n\nThere are two firms known to have released the DVDs of the anime: Shogakukan for the Japanese DVDs and Viz Media for the English DVDs. In the Japanese DVDs, the original 102 episodes were divided into 17 DVDs, 3 episodes for each and 2 episodes for the 1st and 18th discs. There were also two extra merchandises in the 8th and 9th volumes. From episode 51, the DVDs were released as 'DVD Z'. The English DVDs were released on June 12, 2007, with 4 episodes for each DVD and a running time of 92 minutes. Four volumes were released, consisting of 16 episodes in total.\n\nAs of 2008, MÄR DVDs were delisted from distribution. According to Viz Media's spokesperson, this was done to make room for other titles' releases.\n\nTwelve pieces of music were used throughout the series, four openings and eight endings. The four openings themes are from episode 1 to 31, from 32 to 53, from 54 to 80, and from 81 to 102. All of them are composed by the group Garnet Crow.\n\nThe eight pieces of music are I Just Wanna Hold You Tight by Miho Komatsu from episodes 1 to 13, by Sayuri Iwata from episodes 14 to 26, by Sparkling Point from episodes 27 to 39, by Shiori Takei from episodes 40 to 52, Miracle by Rina Aiuchi from episodes 53 to 65, by Garnet Crow from episodes 66 to 78, by Aiko Kitahara from episodes 79 to 90, and by Garnet Crow from episodes 91 to 102.\n\nEpisode list\n\nSeason 1\n\nSeason 2\n\nSeason 3\n\nSeason 4\n\nReferences\n\nExternal links\n \n\nEpisodes\nMarchen Awakens Romance", "This is a list of LazyTown DVDs that have been released. So far, discs have been released in the United States, the United Kingdom, Germany, Iceland, Denmark, Finland, Norway, Sweden, Spain, and Australia.\n\nFor a list of episodes that have aired in English, see List of LazyTown episodes.\n\nRegion 1\n\nNorth America\nEight DVDs have been released for retail in North America, as of October 30, 2012. The volumes from 2005 and 2006 were released by Paramount Home Media Distribution for Nick Jr. and the volumes from 2012 were released by NCircle Entertainment. In addition, a promotional sampler disc was released to Kmart stores in 2005. All discs feature Dolby Digital 2.0 audio and a 1.33:1 aspect ratio.\n\nEpisodes on Nick Jr. compilation DVDs\n\nRegion 2\n\nUnited Kingdom\nEleven DVDs have been released in the U.K. as of May 23, 2011, containing a total of 50 unique episodes (4 episodes appear on more than one disc). These DVDs have four to six episodes each, unlike the standard four episodes for other regions. They also use the British-accent voice dubs, are in widescreen format, and feature subtitles and menus that are more interactive than in other regions.\n\nNote: 9 Lazytown DVD Release By BBC \n\n1.Welcome to Lazytown \n\n2.Surprise Santa \n\n3.Anyone Can Be a Hero \n\n4.No One's Lazy in Lazytown \n\n5.Go Go Lazytown \n\n6.Once Upon a Time in Lazytown \n\n7.Snow Monster \n\n8.Sportacus on the Move \n\n9.Football Crazy\n\n1 Last and Final Lazytown DVD By 2lEntertain/BBC \n\n10.There's Always a Way\n\nGermany\nThirteen DVDs have been released in Germany as of November 7, 2008, containing a total of 52 episodes and one bonus music video. They are all in fullscreen and feature a single audio track in German.\n\nDenmark\nTen DVDs have been released in Denmark as of March 6, 2007, containing a total of 34 episodes. They are all in Widescreen. All the Scandinavian DVDs feature four audio tracks: Danish, Finnish, Norwegian, and Swedish.\n\nFinland\nTen DVDs have been released in Finland as of March 14, 2007, containing a total of 34 episodes. They are all in Widescreen. All the Scandinavian DVDs feature four audio tracks: Danish, Finnish, Norwegian, and Swedish.\n\nNorway\nTen DVDs have been released in Norway as of December 6, 2006, containing a total of 34 episodes. They are all in Widescreen. All the Scandinavian DVDs feature four audio tracks: Danish, Finnish, Norwegian, and Swedish.\n\nSweden\nFifteen DVDs have been released in Sweden as of October 1, 2013, containing a total of all 52 episodes. They are all in Widescreen. All the Scandinavian DVDs feature four audio tracks: Danish, Finnish, Norwegian, and Swedish.\n\nSpain\nA box set of the first season of LazyTown, three episodes per disc, has been released in Spain. The DVDs are fullscreen format.\n\nRegion 4\n\nAustralia\nSixteen DVDs have been released in Australia as of April 2014, containing a total of 64 episodes including the new season 3 episodes. In 2013 Australia was the first country to have episode from series 3 released on DVD. In widescreen format, they feature the original (undubbed) English soundtrack and descriptive English subtitles for the hearing impaired. It could be possible for Australia to release the first DVDs for season 4.\n\nRegion 0\n\nSlovenia\nNine DVDs were released in Slovenia in 2011, containing a total of 35 episodes. They are presented in widescreen format and feature only the Slovenian dub audio track. Each disc also includes karaoke clips as a bonus.\n\nReferences\n\nLazyTown" ]
[ "The Birth of a Nation", "Home media and restorations", "What media platforms is the film on?", "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white\".", "Which is the official version recorded on?", "35mm print that was the source of Shepard's 16 mm print,", "Where is the original now?", "Museum of Modern Art's", "How has the film been restored since?", "this time in a 2-DVD set with added extras on the second disc.", "Is the film critically acclaimed?", "I don't know.", "What other restorations were there aside from the DVDs?", "The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period." ]	C_f586dea2a2ab492b80e50687af4311f3_0	Any others?	7	Besides a Blue-Ray restoration of The Birth of a Nation, any others?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection.	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	false	[ "By any means necessary is a phrase used by Jean-Paul Sartre and Malcolm X.\n\nBy any means necessary may also refer to:\n\nMusic\nBy Any Means Necessary (Gary Thomas album), 1989\nBy Any Means Necessary (Pastor Troy album), 2004\n\nOthers\n\"By Any Means Necessary\" (Babylon 5), an episode of the television series Babylon 5\nBAMN, or By Any Means Necessary, an American militant left-wing civil rights group\n\nSee also\nBy Any Means (2008 TV series), a travel documentary series\nBy Any Means (2013 TV series), a crime drama series", "Paul Gillard was a British television actor. He appeared in British television series Crane, Knock on Any Door, The Avengers, UFO and others.\n\nActing credits\n\nReferences\n\nExternal links\n\nBritish male television actors\nPossibly living people\nYear of birth missing" ]
[ "The Birth of a Nation", "Home media and restorations", "What media platforms is the film on?", "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white\".", "Which is the official version recorded on?", "35mm print that was the source of Shepard's 16 mm print,", "Where is the original now?", "Museum of Modern Art's", "How has the film been restored since?", "this time in a 2-DVD set with added extras on the second disc.", "Is the film critically acclaimed?", "I don't know.", "What other restorations were there aside from the DVDs?", "The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period.", "Any others?", "In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection." ]	C_f586dea2a2ab492b80e50687af4311f3_0	What other modern media replications were there?	8	Besides an HD transfer of a 35mm negative of The Birth of a Nation, what other modern media replications were there?	The Birth of a Nation	The Birth of a Nation, even more than other films in the public domain, has been poorly represented in later releases. The problem, in part, is that Griffith and others have reworked the film, leaving no definitive version. According to the silent film website Brenton Film, "there are a multitude of poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". There are exceptions. Among them is film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and laserdisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the UK's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D.W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set by the BFI, alongside a host of extras, including many other newly restored Civil War-related films from the period. CANNOTANSWER	CANNOTANSWER	The Birth of a Nation, originally called The Clansman, is a 1915 American silent epic drama film directed by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from Thomas Dixon Jr.'s 1905 novel and play The Clansman. Griffith co-wrote the screenplay with Frank E. Woods and produced the film with Harry Aitken. The Birth of a Nation is a landmark of film history, lauded for its technical virtuosity. It was the first 12-reel film ever made and, at three hours, also the longest up to that point. Its plot, part fiction and part history, chronicles the assassination of Abraham Lincoln by John Wilkes Booth and the relationship of two families in the Civil War and Reconstruction eras over the course of several years—the pro-Union (Northern) Stonemans and the pro-Confederacy (Southern) Camerons. It was originally shown in two parts separated by an intermission, and it was the first American-made film to have a musical score for an orchestra. It pioneered close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras (another first) made to look like thousands. It came with a 13-page "Souvenir Program". It was the first motion picture to be screened in the White House, viewed there by President Woodrow Wilson, his family, and members of his cabinet. The film was controversial even before its release and has remained so ever since; it has been called "the most controversial film ever made in the United States" and "the most reprehensibly racist film in Hollywood history". Lincoln is portrayed positively, a friend of the South, atypical of a narrative that promotes the Lost Cause ideology. The film has been denounced for its racist depiction of African Americans. The film portrays them (many of whom are played by white actors in blackface) as unintelligent and sexually aggressive toward white women. The Ku Klux Klan (KKK) is portrayed as a heroic force, necessary to preserve American values, protect white women, and maintain white supremacy. In response to the film's depictions of black people and Civil War history, African Americans across the United States organized and protested. In Boston and other localities, black leaders tried to have it banned on the basis that it inflamed racial tensions and could incite violence. The NAACP spearheaded an unsuccessful campaign to ban the film. Griffith's indignation at efforts to censor or ban the film motivated him to produce Intolerance the following year. In spite of its divisiveness, The Birth of a Nation was a huge commercial success and profoundly influenced both the film industry and American culture. The film has been acknowledged as an inspiration for the rebirth of the Ku Klux Klan, which took place only a few months after its release. In 1992, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. Plot The film consists of two parts of similar length. The first part closes with the assassination of Abraham Lincoln, after which there is an intermission. At the New York premiere, Dixon spoke on stage between the parts, reminding the audience that the dramatic version of The Clansman appeared in that venue nine years previously. "Mr. Dixon also observed that he would have allowed none but the son of a Confederate soldier to direct the film version of The Clansman." Part 1: Civil War of United States The film follows two juxtaposed families. One is the Northern Stonemans: abolitionist U.S. Representative Austin Stoneman (based on the Reconstruction-era Representative Thaddeus Stevens of Pennsylvania), his daughter, and two sons. The other is the Southern Camerons: Dr. Cameron, his wife, their three sons and two daughters. Phil, the elder Stoneman son, falls in love with Margaret Cameron, during the brothers' visit to the Cameron estate in South Carolina, representing the Old South. Meanwhile, young Ben Cameron (modeled after Leroy McAfee) idolizes a picture of Elsie Stoneman. When the Civil War arrives, the young men of both families enlist in their respective armies. The younger Stoneman and two of the Cameron brothers are killed in combat. Meanwhile, the Cameron women are rescued by Confederate soldiers who rout a black militia after an attack on the Cameron home. Ben Cameron leads a heroic final charge at the Siege of Petersburg, earning the nickname of "the Little Colonel", but he is also wounded and captured. He is then taken to a Union military hospital in Washington, D.C. During his stay at the hospital, he is told that he will be hanged. Also at the hospital, he meets Elsie Stoneman, whose picture he has been carrying; she is working there as a nurse. Elsie takes Cameron's mother, who had traveled to Washington to tend her son, to see Abraham Lincoln, and Mrs. Cameron persuades the President to pardon Ben. When Lincoln is assassinated at Ford's Theatre, his conciliatory postwar policy expires with him. In the wake of the president's death, Austin Stoneman and other Radical Republicans are determined to punish the South, employing harsh measures that Griffith depicts as having been typical of the Reconstruction Era. Part 2: Reconstruction Stoneman and his protégé Silas Lynch, a psychopathic mulatto (modeled after Alonzo J. Ransier and Richard Howell Gleaves), head to South Carolina to observe the implementation of Reconstruction policies firsthand. During the election, in which Lynch is elected lieutenant governor, blacks are observed stuffing the ballot boxes, while many whites are denied the vote. The newly elected, mostly black members of the South Carolina legislature are shown at their desks displaying racially stereotypical behavior, such as one member taking off his shoes and putting his feet up on his desk, and others drinking liquor and eating fried chicken. Meanwhile, inspired by observing white children pretending to be ghosts to scare black children, Ben fights back by forming the Ku Klux Klan. As a result, Elsie breaks off her relationship with Ben. Later, Flora Cameron goes off alone into the woods to fetch water and is followed by Gus, a freedman and soldier who is now a captain. He confronts Flora and tells her that he desires to get married. Uninterested, she rejects him, but Gus refuses to accept the rejection. Frightened, she flees into the forest, pursued by Gus. Trapped on a precipice, Flora warns Gus she will jump if he comes any closer. When he does, she leaps to her death. Having run through the forest looking for her, Ben has seen her jump; he holds her as she dies, then carries her body back to the Cameron home. In response, the Klan hunts down Gus, tries him, finds him guilty, and lynches him. Lynch then orders a crackdown on the Klan after discovering Gus's murder. He also secures the passing of legislation allowing mixed-race marriages. Dr. Cameron is arrested for possessing Ben's Klan regalia, now considered a capital crime. He is rescued by Phil Stoneman and a few of his black servants. Together with Margaret Cameron, they flee. When their wagon breaks down, they make their way through the woods to a small hut that is home to two sympathetic former Union soldiers who agree to hide them. An intertitle states, "The former enemies of North and South are united again in common defense of their Aryan birthright." Congressman Stoneman leaves to avoid being connected with Lt. Gov. Lynch's crackdown. Elsie, learning of Dr. Cameron's arrest, goes to Lynch to plead for his release. Lynch, who had been lusting after Elsie, tries to force her to marry him, which causes her to faint. Stoneman returns, causing Elsie to be placed in another room. At first Stoneman is happy when Lynch tells him he wants to marry a white woman, but he is then angered when Lynch tells him that it is Stoneman's daughter. Undercover Klansman spies go to get help when they discover Elsie's plight after she breaks a window and cries out for help. Elsie falls unconscious again and revives while gagged and being bound. The Klan gathered together, with Ben leading them, ride in to gain control of the town. When news about Elsie reaches Ben, he and others go to her rescue. Elsie frees her mouth and screams for help. Lynch is captured. Victorious, the Klansmen celebrate in the streets. Meanwhile, Lynch's militia surrounds and attacks the hut where the Camerons are hiding. The Klansmen, with Ben at their head, race in to save them just in time. The next election day, blacks find a line of mounted and armed Klansmen just outside their homes and are intimidated into not voting. The film concludes with a double wedding as Margaret Cameron marries Phil Stoneman and Elsie Stoneman marries Ben Cameron. The masses are shown oppressed by a giant warlike figure who gradually fades away. The scene shifts to another group finding peace under the image of Jesus Christ. The penultimate title is: "Dare we dream of a golden day when the bestial War shall rule no more. But instead—the gentle Prince in the Hall of Brotherly Love in the City of Peace." Cast Credited Lillian Gish as Elsie Stoneman Mae Marsh as Flora Cameron, the pet sister Henry B. Walthall as Colonel Benjamin Cameron ("The Little Colonel") Miriam Cooper as Margaret Cameron, elder sister Mary Alden as Lydia Brown, Stoneman's housekeeper Ralph Lewis as Austin Stoneman, Leader of the House George Siegmann as Silas Lynch Walter Long as Gus, the renegade Wallace Reid as Jeff, the blacksmith Joseph Henabery as Abraham Lincoln Elmer Clifton as Phil Stoneman, elder son Robert Harron as Tod Stoneman Josephine Crowell as Mrs. Cameron Spottiswoode Aitken as Dr. Cameron George Beranger as Wade Cameron, second son Maxfield Stanley as Duke Cameron, youngest son Jennie Lee as Mammy, the faithful servant Donald Crisp as General Ulysses S. Grant Howard Gaye as General Robert E. Lee Uncredited Harry Braham as Cameron's faithful servant Edmund Burns as Klansman David Butler as Union soldier / Confederate soldier William Freeman as Jake, a mooning sentry at Federal hospital Sam De Grasse as Senator Charles Sumner Olga Grey as Laura Keene Russell Hicks Elmo Lincoln as ginmill owner / slave auctioneer Eugene Pallette as Union soldier Harry Braham as Jake / Nelse Charles Stevens as volunteer Madame Sul-Te-Wan as woman with gypsy shawl Raoul Walsh as John Wilkes Booth Lenore Cooper as Elsie's maid Violet Wilkey as young Flora Tom Wilson as Stoneman's servant Donna Montran as belles of 1861 Alberta Lee as Mrs. Mary Todd Lincoln Allan Sears as Klansmen Vester Pegg Alma Rubens Mary Wynn Jules White Monte Blue Gibson Gowland Fred Burns Charles King Production 1911 version There was an uncompleted, now lost, 1911 version, titled The Clansman. It used Kinemacolor and a new sound process; one reason for this version's failure is the unwillingness of theater owners to purchase the equipment to show it. The director was William F. Haddock, and the producer was George Brennan. Some scenes were filmed on the porches and lawns of Homewood Plantation, in Natchez, Mississippi. One and a half reels were completed. Kinemacolor received a settlement from the producers of Birth when they proved that they had an earlier right to film the work. The footage was shown to the trade in an attempt to arouse interest. Early movie critic Frank E. Woods attended; Griffith always credited Woods with bringing The Clansman to his attention. Development After the failure of the Kinemacolor project, in which Dixon was willing to invest his own money, he began visiting other studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman; through Aitken, Dixon met Griffith. Like Dixon, Griffith was a Southerner, a fact that Dixon points out; Griffith's father served as a colonel in the Confederate States Army and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith first announced his intent to adapt Dixon's play to Gish and Walthall after filming Home, Sweet Home in 1914. Birth of a Nation "follows The Clansman [the play] nearly scene by scene". While some sources also credit The Leopard's Spots as source material, Russell Merritt attributes this to "the original 1915 playbills and program for Birth which, eager to flaunt the film's literary pedigree, cited both The Clansman and The Leopard's Spots as sources." According to Karen Crowe, "[t]here is not a single event, word, character, or circumstance taken from The Leopard's Spots.... Any likenesses between the film and The Leopard's Spots occur because some similar scenes, circumstances, and characters appear in both books." Griffith agreed to pay Thomas Dixon $10,000 (equivalent to $ in ) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received [up to 2007] for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests. Filming Griffith began filming on July 4, 1914 and was finished by October 1914. Some filming took place in Big Bear Lake, California. D. W. Griffith took over the Hollywood studio of Kinemacolor. West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Much of the filming was done on the Griffith Ranch in San Fernando Valley, with the Petersburg scenes being shot at what is today Forest Lawn Memorial Park and other scenes being shot in Whittier and Ojai Valley. The film's war scenes were influenced after Robert Underwood Johnson's book Battles and Leaders of the Civil War, Harper's Pictorial History of the Civil War, The Soldier in Our Civil War, and Mathew Brady's photography. Many of the African Americans in the film were portrayed by white actors in blackface. Griffith initially claimed this was deliberate, stating "on careful weighing of every detail concerned, the decision was to have no black blood among the principals; it was only in the legislative scene that Negroes were used, and then only as 'extra people.'" However black extras who had been housed in segregated quarters, including Griffith's acquaintance and frequent collaborator Madame Sul-Te-Wan, can be seen in many other shots of the film. Griffith's budget started at US$40,000 (equivalent to $ in ) but rose to over $100,000 (equivalent to $ in ). By the time he finished filming, Griffith shot approximately 150,000 feet of footage (or about 36 hours worth of film), which he edited down to 13,000 feet (just over 3 hours). The film was edited after early screenings in reaction to audience reception, and existing prints of the film are missing footage from the standard version of the film. Evidence exists that the film originally included scenes of white slave traders seizing blacks from West Africa and detaining them aboard a slave ship, Southern congressmen in the House of Representatives, Northerners reacting to the results of the 1860 presidential election, the passage of the Fourteenth Amendment, a Union League meeting, depictions of martial law in South Carolina, and a battle sequence. In addition, several scenes were cut at the insistence of New York Mayor John Purroy Mitchel due to their highly racist content before its release in New York City, including a female abolitionist activist recoiling from the body odor of a black boy, black men seizing white women on the streets of Piedmont, and deportations of blacks with the title "Lincoln's Solution." It was also long rumored, including by Griffith's biographer Seymour Stern, that the original film included a rape scene between Gus and Flora before her suicide, but in 1974 the cinematographer Karl Brown denied that such a scene had been filmed. Score Although The Birth of a Nation is commonly regarded as a landmark for its dramatic and visual innovations, its use of music was arguably no less revolutionary. Though film was still silent at the time, it was common practice to distribute musical cue sheets, or less commonly, full scores (usually for organ or piano accompaniment) along with each print of a film. For The Birth of a Nation, composer Joseph Carl Breil created a three-hour-long musical score that combined all three types of music in use at the time: adaptations of existing works by classical composers, new arrangements of well-known melodies, and original composed music. Though it had been specifically composed for the film, Breil's score was not used for the Los Angeles première of the film at Clune's Auditorium; rather, a score compiled by Carli Elinor was performed in its stead, and this score was used exclusively in West Coast showings. Breil's score was not used until the film debuted in New York at the Liberty Theatre but it was the score featured in all showings save those on the West Coast. Outside of original compositions, Breil adapted classical music for use in the film, including passages from Der Freischütz by Carl Maria von Weber, Leichte Kavallerie by Franz von Suppé, Symphony No. 6 by Ludwig van Beethoven, and "Ride of the Valkyries" by Richard Wagner, the latter used as a leitmotif during the ride of the KKK. Breil also arranged several traditional and popular tunes that would have been recognizable to audiences at the time, including many Southern melodies; among these songs were "Maryland, My Maryland", "Dixie", "Old Folks at Home", "The Star-Spangled Banner", "America the Beautiful", "The Battle Hymn of the Republic", "Auld Lang Syne", and "Where Did You Get That Hat?". DJ Spooky has called Breil's score, with its mix of Dixieland songs, classical music and "vernacular heartland music" "an early, pivotal accomplishment in remix culture." He has also cited Breil's use of music by Richard Wagner as influential on subsequent Hollywood films, including Star Wars (1977) and Apocalypse Now (1979). In his original compositions for the film, Breil wrote numerous leitmotifs to accompany the appearance of specific characters. The principal love theme that was created for the romance between Elsie Stoneman and Ben Cameron was published as "The Perfect Song" and is regarded as the first marketed "theme song" from a film; it was later used as the theme song for the popular radio and television sitcom Amos 'n' Andy. Release Theatrical run The first public showing of the film, then called The Clansman, was on January 1 and 2, 1915, at the Loring Opera House in Riverside, California. The second night, it was sold out and people were turned away. It was shown on February 8, 1915, to an audience of 3,000 persons at Clune's Auditorium in downtown Los Angeles. The film's backers understood that the film needed a massive publicity campaign if they were to cover the immense cost of producing it. A major part of this campaign was the release of the film in a roadshow theatrical release. This allowed Griffith to charge premium prices for tickets, sell souvenirs, and build excitement around the film before giving it a wide release. For several months, Griffith's team traveled to various cities to show the film for one or two nights before moving on. This strategy was immensely successful. Change of title The title was changed to The Birth of a Nation before the March 2 New York opening. However, Dixon copyrighted the title The Birth of a Nation in 1905, and it was used in the press as early as January 2, 1915, while it was still referred to as The Clansman in October. Special screenings White House showing Birth of a Nation was the first movie shown in the White House, in the East Room, on February 18, 1915. (An earlier movie, the Italian Cabiria (1914), was shown on the lawn.) It was attended by President Woodrow Wilson, members of his family, and members of his Cabinet. Both Dixon and Griffith were present. As put by Dixon, not an impartial source, "it repeated the triumph of the first showing". There is dispute about Wilson's attitude toward the movie. A newspaper reported that he "received many letters protesting against his alleged action in Indorsing the pictures ", including a letter from Massachusetts Congressman Thomas Chandler Thacher. The showing of the movie had caused "several near-riots". When former Assistant Attorney General William H. Lewis and A. Walters, a bishop of the African Methodist Episcopal Zion Church, called at the White House "to add their protests", President Wilson's private secretary, Joseph Tumulty, showed them a letter he had written to Thacher on Wilson's behalf. According to the letter, Wilson had been "entirely unaware of the character of the play [movie] before it was presented and has at no time expressed his approbation of it. Its exhibition at the White House was a courtesy extended to an old acquaintance." Dixon, in his autobiography, quotes Wilson as saying, when Dixon proposed showing the movie at the White House, that "I am pleased to be able to do this little thing for you, because a long time ago you took a day out of your busy life to do something for me." What Dixon had done for Wilson was to suggest him for an honorary degree, which Wilson received, from Dixon's alma mater, Wake Forest College. Dixon had been a fellow graduate student in history with Wilson at Johns Hopkins University and, in 1913, dedicated his historical novel about Lincoln, The Southerner, to "our first Southern-born president since Lincoln, my friend and collegemate Woodrow Wilson". The evidence that Wilson knew "the character of the play" in advance of seeing it is circumstantial but very strong: "Given Dixon's career and the notoriety attached to the play The Clansman, it is not unreasonable to assume that Wilson must have had some idea of at least the general tenor of the film." The movie was based on a best-selling novel and was preceded by a stage version (play) which was received with protests in several cities—in some cities it was prohibited—and received a great deal of news coverage. Wilson issued no protest when the Evening Star, at that time Washington's "newspaper of record", reported in advance of the showing, in language suggesting a press release from Dixon and Griffiths, that Dixon was "a schoolmate of President Wilson and is an intimate friend", and that Wilson's interest in it "is due to the great lesson of peace it teaches". Wilson, and only Wilson, is quoted by name in the movie for his observations on American history, and the title of Wilson's book (History of the American People) is mentioned as well. The three title cards with quotations from Wilson's book read: "Adventurers swarmed out of the North, as much the enemies of one race as of the other, to cozen, beguile and use the negroes.... [Ellipsis in the original.] In the villages the negroes were the office holders, men who knew none of the uses of authority, except its insolences." "....The policy of the congressional leaders wrought…a veritable overthrow of civilization in the South.....in their determination to 'put the white South under the heel of the black South.'" [Ellipses and underscore in the original.] "The white men were roused by a mere instinct of self-preservation.....until at last there had sprung into existence a great Ku Klux Klan, a veritable empire of the South, to protect the southern country." [Ellipsis in the original.] In the same book, Wilson has harsh words about the abyss between the original goals of the Klan and what it evolved into. Dixon has been accused of misquoting Wilson. In 1937 a popular magazine reported that Wilson said of the film, "It is like writing history with lightning. And my only regret is that it is all so terribly true." Wilson over the years had several times used the metaphor of illuminating history as if by lightning and he may well have said it at the time. The accuracy of his saying it was "terribly true" is disputed by historians; there is no contemporary documentation of the remark. Vachel Lindsay, a popular poet of the time, is known to have referred to the film as "art by lightning flash." Showing in the Raleigh Hotel ballroom The next day, February 19, 1915, Griffith and Dixon held a showing of the film in the Raleigh Hotel ballroom, which they had hired for the occasion. Early that morning, Dixon called on a North Carolina friend, the white-supremacist Josephus Daniels, Secretary of the Navy. Daniels set up a meeting that morning for Dixon with Edward Douglass White, Chief Justice of the Supreme Court. Initially Justice White was not interested in seeing the film, but when Dixon told him it was the "true story" of Reconstruction and the Klan's role in "saving the South", White, recalling his youth in Louisiana, jumped to attention and said: "I was a member of the Klan, sir". With White agreeing to see the film, the rest of the Supreme Court followed. In addition to the entire Supreme Court, in the audience were "many members of Congress and members of the diplomatic corps", the Secretary of the Navy, 38 members of the Senate, and about 50 members of the House of Representatives. The audience of 600 "cheered and applauded throughout." Consequences In Griffith's words, the showings to the president and the entire Supreme Court conferred an "honor" upon Birth of a Nation. Dixon and Griffith used this commercially. The following day, Griffith and Dixon transported the film to New York City for review by the National Board of Censorship. They presented the film as "endorsed" by the President and the cream of Washington society. The Board approved the film by 15 to 8. A warrant to close the theater in which the movie was to open was dismissed after a long-distance call to the White House confirmed that the film had been shown there. Justice White was very angry when advertising for the film stated that he approved it, and he threatened to denounce it publicly. Dixon, a racist and white supremacist, clearly was rattled and upset by criticism by African Americans that the movie encouraged hatred against them, and he wanted the endorsement of as many powerful men as possible to offset such criticism. Dixon always vehemently denied having anti-black prejudices—despite the way his books promoted white supremacy—and stated: "My books are hard reading for a Negro, and yet the Negroes, in denouncing them, are unwittingly denouncing one of their greatest friends". In a letter sent on May 1, 1915, to Joseph P. Tumulty, Wilson's secretary, Dixon wrote: "The real purpose of my film was to revolutionize Northern sentiments by a presentation of history that would transform every man in the audience into a good Democrat...Every man who comes out of the theater is a Southern partisan for life!" In a letter to President Wilson sent on September 5, 1915, Dixon boasted: "This play is transforming the entire population of the North and the West into sympathetic Southern voters. There will never be an issue of your segregation policy". Dixon was alluding to the fact that Wilson, upon becoming president in 1913, had allowed cabinet members to impose segregation on federal workplaces in Washington, D.C. by reducing the number of black employees through demotion or dismissal. New opening titles on re-release One famous part of the film was added by Griffith only on the second run of the film and is missing from most online versions of the film (presumably taken from first run prints). These are the second and third of three opening title cards which defend the film. The added titles read: A PLEA FOR THE ART OF THE MOTION PICTURE: We do not fear censorship, for we have no wish to offend with improprieties or obscenities, but we do demand, as a right, the liberty to show the dark side of wrong, that we may illuminate the bright side of virtue—the same liberty that is conceded to the art of the written word—that art to which we owe the Bible and the works of Shakespeare and If in this work we have conveyed to the mind the ravages of war to the end that war may be held in abhorrence, this effort will not have been in vain. Various film historians have expressed a range of views about these titles. To Nicholas Andrew Miller, this shows that "Griffith's greatest achievement in The Birth of a Nation was that he brought the cinema's capacity for spectacle... under the rein of an outdated, but comfortably literary form of historical narrative. Griffith's models... are not the pioneers of film spectacle... but the giants of literary narrative". On the other hand, S. Kittrell Rushing complains about Griffith's "didactic" title-cards, while Stanley Corkin complains that Griffith "masks his idea of fact in the rhetoric of high art and free expression" and creates film which "erodes the very ideal" of liberty which he asserts. Contemporary reception Press reaction The New York Times gave it a quite brief review, calling it "melodramatic" and "inflammatory", adding that: "A great deal might be said concerning the spirit revealed in Mr. Dixon's review of the unhappy chapter of Reconstruction and concerning the sorry service rendered by its plucking at old wounds." Variety praised Griffith's direction, claiming he "set such a pace it will take a long time before one will come along that can top it in point of production, acting, photography and direction. Every bit of the film was laid, played and made in America. One may find some flaws in the general running of the picture, but they are so small and insignificant that the bigness and greatness of the entire film production itself completely crowds out any little defects that might be singled out." Box office The box office gross of The Birth of a Nation is not known and has been the subject of exaggeration. When the film opened, the tickets were sold at premium prices. The film played at the Liberty Theater at Times Square in New York City for 44 weeks with tickets priced at $2.20 (). By the end of 1917, Epoch reported to its shareholders cumulative receipts of $4.8 million, and Griffith's own records put Epoch's worldwide earnings from the film at $5.2 million as of 1919, although the distributor's share of the revenue at this time was much lower than the exhibition gross. In the biggest cities, Epoch negotiated with individual theater owners for a percentage of the box office; elsewhere, the producer sold all rights in a particular state to a single distributor (an arrangement known as "state's rights" distribution). The film historian Richard Schickel says that under the state's rights contracts, Epoch typically received about 10% of the box office gross—which theater owners often underreported—and concludes that "Birth certainly generated more than $60 million in box-office business in its first run". The film held the mantle of the highest-grossing film until it was overtaken by Gone with the Wind (1939), another film about the Civil War and Reconstruction era. By 1940 Time magazine estimated the film's cumulative gross rental (the distributor's earnings) at approximately $15 million. For years Variety had the gross rental listed as $50 million, but in 1977 repudiated the claim and revised its estimate down to $5 million. It is not known for sure how much the film has earned in total, but producer Harry Aitken put its estimated earnings at $15–18 million in a letter to a prospective investor in a proposed sound version. It is likely the film earned over $20 million for its backers and generated $50–100 million in box office receipts. In a 2015 Time article, Richard Corliss estimated the film had earned the equivalent of $1.8 billion adjusted for inflation, a milestone that at the time had only been surpassed by Titanic (1997) and Avatar (2009) in nominal earnings. Criticism Like Dixon's novels and play, Birth of a Nation received considerable criticism, both before and after its premiere. Dixon, who believed the film to be entirely truthful and historically accurate, attributed this to "Sectionalists", i.e. non-Southerners who in Dixon's opinion were hostile to the "truth" about the South. It was to counter these "sinister forces" and the "dangerous...menace" that Dixon and Griffiths sought "the backing" of President Wilson and the Supreme Court. The National Association for the Advancement of Colored People (NAACP) protested at premieres of the film in numerous cities. According to the historian David Copeland, "by the time of the movie's March 3 [1915] premiere in New York City, its subject matter had embroiled the film in charges of racism, protests, and calls for censorship, which began after the Los Angeles branch of the NAACP requested the city's film board ban the movie. Since film boards were composed almost entirely of whites, few review boards initially banned Griffith's picture". The NAACP also conducted a public education campaign, publishing articles protesting the film's fabrications and inaccuracies, organizing petitions against it, and conducting education on the facts of the war and Reconstruction. Because of the lack of success in NAACP's actions to ban the film, on April 17, 1915, NAACP secretary Mary Childs Nerney wrote to NAACP Executive Committee member George Packard: "I am utterly disgusted with the situation in regard to The Birth of a Nation ... kindly remember that we have put six weeks of constant effort of this thing and have gotten nowhere." Jane Addams, an American social worker and social reformer, and the founder of Hull House, voiced her reaction to the film in an interview published by the New York Post on March 13, 1915, just ten days after the film was released. She stated that "One of the most unfortunate things about this film is that it appeals to race prejudice upon the basis of conditions of half a century ago, which have nothing to do with the facts we have to consider to-day. Even then it does not tell the whole truth. It is claimed that the play is historical: but history is easy to misuse." In New York, Rabbi Stephen Samuel Wise told the press after seeing The Birth of a Nation that the film was "an indescribable foul and loathsome libel on a race of human beings". In Boston, Booker T. Washington wrote a newspaper column asking readers to boycott the film, while the civil rights activist William Monroe Trotter organized demonstrations against the film, which he predicted was going to worsen race relations. On Saturday, April 10, and again on April 17, Trotter and a group of other blacks tried to buy tickets for the show's premiere at the Tremont Theater and were refused. They stormed the box office in protest, 260 police on standby rushed in, and a general melee ensued. Trotter and ten others were arrested. The following day a huge demonstration was staged at Faneuil Hall. In Washington D.C, the Reverend Francis James Grimké published a pamphlet entitled "Fighting a Vicious Film" that challenged the historical accuracy of The Birth of a Nation on a scene-by-scene basis. When the film was released, riots also broke out in Philadelphia and other major cities in the United States. The film's inflammatory nature was a catalyst for gangs of whites to attack blacks. On April 24, 1916, the Chicago American reported that a white man murdered a black teenager in Lafayette, Indiana, after seeing the film, although there has been some controversy as to whether the murderer had actually seen The Birth of a Nation. Over a century later, a Harvard University research paper found that "[o]n average, lynchings in a county rose fivefold in the month after [the film] arrived." The mayor of Cedar Rapids, Iowa was the first of twelve mayors to ban the film in 1915 out of concern that it would promote race prejudice, after meeting with a delegation of black citizens. The NAACP set up a precedent-setting national boycott of the film, likely seen as the most successful effort. Additionally, they organized a mass demonstration when the film was screened in Boston, and it was banned in three states and several cities. Both Griffith and Dixon in letters to the press dismissed African-American protests against The Birth of a Nation. In a letter to The New York Globe, Griffith wrote that his film was "an influence against the intermarriage of blacks and whites". Dixon likewise called the NAACP "the Negro Intermarriage Society" and said it was against The Birth of a Nation "for one reason only—because it opposes the marriage of blacks to whites". Griffith—indignant at the film's negative critical reception—wrote letters to newspapers and published a pamphlet in which he accused his critics of censoring unpopular opinions. When Sherwin Lewis of The New York Globe wrote a piece that expressed criticism of the film's distorted portrayal of history and said that it was not worthy of constitutional protection because its purpose was to make a few "dirty dollars", Griffith responded that "the public should not be afraid to accept the truth, even though it might not like it". He also added that the man who wrote the editorial was "damaging my reputation as a producer" and "a liar and a coward". Audience reaction The Birth of a Nation was very popular, despite the film's controversy; it was unlike anything that American audiences had ever seen before. The Los Angeles Times called it "the greatest picture ever made and the greatest drama ever filmed". Mary Pickford said: "Birth of a Nation was the first picture that really made people take the motion picture industry seriously". Glorifying the Klan to approving white audiences, it became a national cultural phenomenon: merchandisers made Ku Klux hats and kitchen aprons, and ushers dressed in white Klan robes for openings. In New York there were Klan-themed balls and, in Chicago that Halloween, thousands of college students dressed in robes for a massive Klan-themed party. The producers had 15 "detectives" at the Liberty Theater in New York City "to prevent disorder on the part of those who resent the 'reconstruction period' episodes depicted." The Reverend Charles Henry Parkhurst argued that the film was not racist, saying that it "was exactly true to history" by depicting freedmen as they were and, therefore, it was a "compliment to the black man" by showing how far black people had "advanced" since Reconstruction. Critic Dolly Dalrymple wrote that, "when I saw it, it was far from silent ... incessant murmurs of approval, roars of laughter, gasps of anxiety, and outbursts of applause greeted every new picture on the screen". One man viewing the film was so moved by the scene where Flora Cameron flees Gus to avoid being raped that he took out his handgun and began firing at the screen in an effort to help her. Katharine DuPre Lumpkin recalled watching the film as an 18-year-old in 1915 in her 1947 autobiography The Making of a Southerner: "Here was the black figure—and the fear of the white girl—though the scene blanked out just in time. Here were the sinister men the South scorned and the noble men the South revered. And through it all the Klan rode. All around me people sighed and shivered, and now and then shouted or wept, in their intensity." Sequel and spin-offs D. W. Griffith made a film in 1916, called Intolerance, partly in response to the criticism that The Birth of a Nation received. Griffith made clear within numerous interviews that the film's title and main themes were chosen in response to those who he felt had been intolerant to The Birth of a Nation. A sequel called The Fall of a Nation was released in 1916, depicting the invasion of the United States by a German-led confederation of European monarchies and criticizing pacifism in the context of the First World War. It was the first feature-length sequel in film history. The film was directed by Thomas Dixon Jr., who adapted it from his novel of the same name. Despite its success in the foreign market, the film was not a success among American audiences, and is now a lost film. In 1918, an American silent drama film directed by John W. Noble called The Birth of a Race was released as a direct response to The Birth of a Nation. The film was an ambitious project by producer Emmett Jay Scott to challenge Griffith's film and tell another side of the story, but was ultimately unsuccessful. In 1920, African-American filmmaker Oscar Micheaux released Within Our Gates, a response to The Birth of a Nation. Within Our Gates depicts the hardships faced by African Americans during the era of Jim Crow laws. Griffith's film was remixed in 2004 as Rebirth of a Nation by DJ Spooky. Quentin Tarantino has said that he made his film Django Unchained (2012) to counter the falsehoods of The Birth of a Nation. Influence In November 1915, William Joseph Simmons revived the Klan in Atlanta, Georgia, holding a cross burning at Stone Mountain. The historian John Hope Franklin observed that, had it not been for The Birth of a Nation, the Klan might not have been reborn. Franklin wrote in 1979 that "The influence of Birth of a Nation on the current view of Reconstruction has been greater than any other single force", but that "It is not at all difficult to find inaccuracies and distortions" in the movie. Current reception Critical response Released in 1915, The Birth of a Nation has been credited as groundbreaking among its contemporaries for its innovative application of the medium of film. According to the film historian Kevin Brownlow, the film was "astounding in its time" and initiated "so many advances in film-making technique that it was rendered obsolete within a few years". The content of the work, however, has received widespread criticism for its blatant racism. Film critic Roger Ebert wrote: Certainly The Birth of a Nation (1915) presents a challenge for modern audiences. Unaccustomed to silent films and uninterested in film history, they find it quaint and not to their taste. Those evolved enough to understand what they are looking at find the early and wartime scenes brilliant, but cringe during the postwar and Reconstruction scenes, which are racist in the ham-handed way of an old minstrel show or a vile comic pamphlet. Despite its controversial story, the film has been praised by film critics, with Ebert mentioning its use as a historical tool: "The Birth of a Nation is not a bad film because it argues for evil. Like Riefenstahl's Triumph of the Will, it is a great film that argues for evil. To understand how it does so is to learn a great deal about film, and even something about evil." According to a 2002 article in the Los Angeles Times, the film facilitated the refounding of the Ku Klux Klan in 1915. History.com similarly states that "There is no doubt that Birth of a Nation played no small part in winning wide public acceptance" for the KKK, and that throughout the film "African Americans are portrayed as brutish, lazy, morally degenerate, and dangerous." David Duke used the film to recruit Klansmen in the 1970s. In 2013, the American critic Richard Brody wrote The Birth of a Nation was : ...a seminal commercial spectacle but also a decisively original work of art—in effect, the founding work of cinematic realism, albeit a work that was developed to pass lies off as reality. It's tempting to think of the film's influence as evidence of the inherent corruption of realism as a cinematic mode—but it's even more revealing to acknowledge the disjunction between its beauty, on the one hand, and, on the other, its injustice and falsehood. The movie's fabricated events shouldn't lead any viewer to deny the historical facts of slavery and Reconstruction. But they also shouldn't lead to a denial of the peculiar, disturbingly exalted beauty of Birth of a Nation, even in its depiction of immoral actions and its realization of blatant propaganda. The worst thing about The Birth of a Nation is how good it is. The merits of its grand and enduring aesthetic make it impossible to ignore and, despite its disgusting content, also make it hard not to love. And it's that very conflict that renders the film all the more despicable, the experience of the film more of a torment—together with the acknowledgment that Griffith, whose short films for Biograph were already among the treasures of world cinema, yoked his mighty talent to the cause of hatred (which, still worse, he sincerely depicted as virtuous). Brody also argued that Griffith unintentionally undercut his own thesis in the film, citing the scene before the Civil War when the Cameron family offers up lavish hospitality to the Stoneman family who travel past mile after mile of slaves working the cotton fields of South Carolina to reach the Cameron home. Brody maintained that a modern audience can see that the wealth of the Camerons comes from the slaves, forced to do back-breaking work picking the cotton. Likewise, Brody argued that the scene where people in South Carolina celebrate the Confederate victory at the Battle of Bull Run by dancing around the "eerie flare of a bonfire" implies "a dance of death", foreshadowing the destruction of Sherman's March that was to come. In the same way, Brody wrote that the scene where the Klan dumps Gus's body off at the doorstep of Lynch is meant to have the audience cheering, but modern audiences find the scene "obscene and horrifying". Finally, Brody argued that the end of the film, where the Klan prevents defenseless African Americans from exercising their right to vote by pointing guns at them, today seems "unjust and cruel". In an article for The Atlantic, film critic Ty Burr deemed The Birth of a Nation the most influential film in history while criticizing its portrayal of black men as savage. Richard Corliss of Time wrote that Griffith "established in the hundreds of one- and two-reelers he directed a cinematic textbook, a fully formed visual language, for the generations that followed. More than anyone else—more than all others combined—he invented the film art. He brought it to fruition in The Birth of a Nation." Corliss praised the film's "brilliant storytelling technique" and noted that "The Birth of a Nation is nearly as antiwar as it is antiblack. The Civil War scenes, which consume only 30 minutes of the extravaganza, emphasize not the national glory but the human cost of combat. ... Griffith may have been a racist politically, but his refusal to find uplift in the South's war against the Union—and, implicitly, in any war at all—reveals him as a cinematic humanist." Accolades In 1992, the U.S. Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry. The American Film Institute recognized the film by ranking it #44 within the AFI's 100 Years...100 Movies list in 1998. Historical portrayal The film remains controversial due to its interpretation of American history. University of Houston historian Steven Mintz summarizes its message as follows: "Reconstruction was an unmitigated disaster, blacks could never be integrated into white society as equals, and the violent actions of the Ku Klux Klan were justified to reestablish honest government". The South is portrayed as a victim. The first overt mentioning of the war is the scene in which Abraham Lincoln signs the call for the first 75,000 volunteers. However, the first aggression in the Civil War, made when the Confederate troops fired on Fort Sumter in 1861, is not mentioned in the film. The film suggested that the Ku Klux Klan restored order to the postwar South, which was depicted as endangered by abolitionists, freedmen, and carpetbagging Republican politicians from the North. This is similar to the Dunning School of historiography which was current in academe at the time. The film is slightly less extreme than the books upon which it is based, in which Dixon misrepresented Reconstruction as a nightmarish time when black men ran amok, storming into weddings to rape white women with impunity. The film portrayed President Abraham Lincoln as a friend of the South and refers to him as "the Great Heart". The two romances depicted in the film, Phil Stoneman with Margaret Cameron and Ben Cameron with Elsie Stoneman, reflect Griffith's retelling of history. The couples are used as a metaphor, representing the film's broader message of the need for the reconciliation of the North and South to defend white supremacy. Among both couples, there is an attraction that forms before the war, stemming from the friendship between their families. With the war, however, both families are split apart, and their losses culminate in the end of the war with the defense of white supremacy. One of the intertitles clearly sums up the message of unity: "The former enemies of North and South are united again in defense of their Aryan birthright." The film further reinforced the popular belief held by whites, especially in the South, of Reconstruction as a disaster. In his 1929 book The Tragic Era: The Revolution After Lincoln, Claude Bowers treated The Birth of a Nation as a factually accurate account of Reconstruction. In The Tragic Era, Bowers presented every black politician in the South as corrupt, portrayed Republican Representative Thaddeus Stevens as a vicious "race traitor" intent upon making blacks the equal of whites, and praised the Klan for "saving civilization" in the South. Bowers wrote about black empowerment that the worst sort of "scum" from the North like Stevens "inflamed the Negro's egoism and soon the lustful assaults began. Rape was the foul daughter of Reconstruction!" Academic assessment The American historian John Hope Franklin wrote that not only did Claude Bowers treat The Birth of a Nation as accurate history, but his version of history seemed to be drawn from The Birth of a Nation. Historian E. Merton Coulter treated The Birth of a Nation as historically correct and painted a vivid picture of "black beasts" running amok, encouraged by alcohol-sodden, corrupt and vengeful black Republican politicians. Franklin wrote as recently as the 1970s that the popular journalist Alistair Cooke in his books and TV shows was still essentially following the version of history set out by The Birth of a Nation, noting that Cooke had much sympathy with the suffering of whites in Reconstruction while having almost nothing to say about the suffering of blacks or about how blacks were stripped of almost all their rights after 1877. Veteran film reviewer Roger Ebert wrote: ... stung by criticisms that the second half of his masterpiece was racist in its glorification of the Ku Klux Klan and its brutal images of blacks, Griffith tried to make amends in Intolerance (1916), which criticized prejudice. And in Broken Blossoms he told perhaps the first interracial love story in the movies—even though, to be sure, it's an idealized love with no touching. Despite some similarities between the Congressman Stoneman character and Rep. Thaddeus Stevens of Pennsylvania, Rep. Stevens did not have the family members described and did not move to South Carolina during Reconstruction. He died in Washington, D.C. in 1868. However, Stevens' biracial housekeeper, Lydia Hamilton Smith, was considered his common-law wife, and was generously provided for in his will. In the film, Abraham Lincoln is portrayed in a positive light due to his belief in conciliatory postwar policies toward Southern whites. The president's views are opposite those of Austin Stoneman, a character presented in a negative light, who acts as an antagonist. The assassination of Lincoln marks the transition from war to Reconstruction, each of which periods has one of the two "acts" of the film. In including the assassination, the film also establishes to the audience that the plot of the movie has historical basis. Franklin wrote the film's depiction of Reconstruction as a hellish time when black freedmen ran amok, raping and killing whites with impunity until the Klan stepped in is not supported by the facts. Franklin wrote that most freed slaves continued to work for their former masters in Reconstruction for the want of a better alternative and, though relations between freedmen and their former masters were not friendly, very few freedmen sought revenge against the people who had enslaved them. The depictions of mass Klan paramilitary actions do not seem to have historical equivalents, although there were incidents in 1871 where Klan groups traveled from other areas in fairly large numbers to aid localities in disarming local companies of the all-black portion of the state militia under various justifications, prior to the eventual Federal troop intervention, and the organized Klan continued activities as small groups of "night riders". The civil rights movement and other social movements created a new generation of historians, such as scholar Eric Foner, who led a reassessment of Reconstruction. Building on W. E. B. DuBois' work but also adding new sources, they focused on achievements of the African American and white Republican coalitions, such as establishment of universal public education and charitable institutions in the South and extension of suffrage to black men. In response, the Southern-dominated Democratic Party and its affiliated white militias had used extensive terrorism, intimidation and outright assassinations to suppress African-American leaders and voting in the 1870s and to regain power. Legacy Film innovations In his review of The Birth of a Nation in 1001 Movies You Must See Before You Die, Jonathan Kline writes that "with countless artistic innovations, Griffith essentially created contemporary film language ... virtually every film is beholden to [The Birth of a Nation] in one way, shape or form. Griffith introduced the use of dramatic close-ups, tracking shots, and other expressive camera movements; parallel action sequences, crosscutting, and other editing techniques". He added that "the fact that The Birth of a Nation remains respected and studied to this day—despite its subject matter—reveals its lasting importance." Griffith pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. The Birth of a Nation also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra. Home media and restorations For many years, The Birth of a Nation was poorly represented in home media and restorations. This stemmed from several factors, one of which was the fact that Griffith and others had frequently reworked the film, leaving no definitive version. According to the silent film website Brenton Film, many home media releases of the film consisted of "poor quality DVDs with different edits, scores, running speeds and usually in definitely unoriginal black and white". One of the earliest high-quality home versions was film preservationist David Shepard's 1992 transfer of a 16mm print for VHS and LaserDisc release via Image Entertainment. A short documentary, The Making of The Birth of a Nation, newly produced and narrated by Shepard, was also included. Both were released on DVD by Image in 1998 and the United Kingdom's Eureka Entertainment in 2000. In the UK, Photoplay Productions restored the Museum of Modern Art's 35mm print that was the source of Shepard's 16 mm print, though they also augmented it with extra material from the British Film Institute. It was also given a full orchestral recording of the original Breil score. Though broadcast on Channel 4 television and theatrically screened many times, Photoplay's 1993 version was never released on home video. Shepard's transfer and documentary were reissued in the US by Kino Video in 2002, this time in a 2-DVD set with added extras on the second disc. These included several Civil War shorts also directed by D. W. Griffith. In 2011, Kino prepared a HD transfer of a 35 mm negative from the Paul Killiam Collection. They added some material from the Library of Congress and gave it a new compilation score. This version was released on Blu-ray by Kino in the US, Eureka in the UK (as part of their "Masters of Cinema" collection) and Divisa Home Video in Spain. In 2015, the year of the film's centenary, Photoplay Productions' Patrick Stanbury, in conjunction with the British Film Institute, carried out the first full restoration. It mostly used new 4K scans of the LoC's original camera negative, along with other early generation material. It, too, was given the original Breil score and featured the film's original tinting for the first time since its 1915 release. The restoration was released on a 2-Blu-ray set in the UK and US by the BFI and Twilight Time, alongside a host of extras, including many other newly restored Civil War-related films from the period. In popular culture The Birth of a Nation reverent depiction of the Klan was lampooned in Mel Brooks' Blazing Saddles (1974). Ryan O'Neal's character Leo Harrigan in Peter Bogdanovich's Nickelodeon (1976) attends the premiere of The Birth of a Nation and realizes that it will change the course of American cinema. Clips from Griffith's film are shown in Robert Zemeckis' Forrest Gump (1994), where the footage is meant to portray the titular character's ancestor and namesake Nathan Bedford Forrest The closing montage of Spike Lee's Bamboozled (2000), along with other footage from demeaning portrayals of African Americans in early 20th century film Lee's BlacKkKlansman (2018), where Harry Belafonte's character Jerome Turner speaks about its role in the lynching of Jesse Washington as the modern Ku Kluk Klan led by Grand Wizard David Duke (Topher Grace) screens it as propaganda. Director Kevin Willmott's mockumentary C.S.A.: The Confederate States of America (2004) portrays an imagined history where the Confederacy won the Civil War. It shows part of an imagined Griffith film, The Capture of Dishonest Abe, which resembles The Birth of a Nation and was supposedly adapted from Thomas Dixon's The Yankee. In Justin Simien's Dear White People (2014), Sam (Tessa Thompson) screens a short film called The Rebirth of a Nation which portrays white people wearing whiteface while criticizing Barack Obama. In 2016, Nate Parker produced and directed the film The Birth of a Nation, based on Nat Turner's slave rebellion; Parker clarified: I've reclaimed this title and re-purposed it as a tool to challenge racism and white supremacy in America, to inspire a riotous disposition toward any and all injustice in this country (and abroad) and to promote the kind of honest confrontation that will galvanize our society toward healing and sustained systemic change. Dinesh D'Souza's 2016 political documentary Hillary's America: The Secret History of the Democratic Party depicts President Wilson and his cabinet viewing The Birth of a Nation in the White House before a Klansman comes out of the screen and into the real world. The film is meant to accuse the Democratic Party and the American political left in covering up its past support of white supremacy and continuing it through welfare policies and machine politics. The title of D'Souza's 2018 film The Death of a Nation is a reference to Griffith's film, and like his previous film is meant to accuse the Democratic Party, and historical American left-wing of racism. Negative reaction In 2019, Bowling Green State University renamed its Gish Film Theater, which was named for actress Lilian Gish, after protests alleging that using her name is inappropriate, because of her role in Birth of a Nation. See also List of American films of 1915 List of films and television shows about the American Civil War List of films featuring slavery List of highest-grossing films List of racism-related films Racism in the United States Notes References Bibliography Addams, Jane, in Crisis: A Record of Darker Races, X (May 1915), 19, 41, and (June 1915), 88. Bogle, Donald. Toms, Coons, Mulattoes, Mammies and Bucks: An Interpretive History of Blacks in American Films (1973). Brodie, Fawn M. Thaddeus Stevens, Scourge of the South (New York, 1959), pp. 86–93. Corrects the historical record as to Dixon's false representation of Stevens in this film with regard to his racial views and relations with his housekeeper. Chalmers, David M. Hooded Americanism: The History of the Ku Klux Klan (New York: 1965), p. 30 Franklin, John Hope. "Silent Cinema as Historical Mythmaker". In Myth America: A Historical Anthology, Volume II. 1997. Gerster, Patrick, and Cords, Nicholas. (editors.) Brandywine Press, St. James, NY. Franklin, John Hope, "Propaganda as History" pp. 10–23 in Race and History: Selected Essays 1938–1988 (Louisiana State University Press, 1989); first published in The Massachusetts Review, 1979. Describes the history of the novel The Clan and this film. Franklin, John Hope, Reconstruction After the Civil War (Chicago, 1961), pp. 5–7. Hickman, Roger. Reel Music: Exploring 100 Years of Film Music (New York: W. W. Norton & Company, 2006). Hodapp, Christopher L., and Alice Von Kannon, Conspiracy Theories & Secret Societies For Dummies (Hoboken: Wiley, 2008) pp. 235–236. Korngold, Ralph, Thaddeus Stevens. A Being Darkly Wise and Rudely Great (New York: 1955) pp. 72–76. corrects Dixon's false characterization of Stevens' racial views and of his dealings with his housekeeper. Leab, Daniel J., From Sambo to Superspade (Boston, 1975), pp. 23–39. New York Times, roundup of reviews of this film, March 7, 1915. The New Republica, II (March 20, 1915), 185 Poole, W. Scott, Monsters in America: Our Historical Obsession with the Hideous and the Haunting (Waco, Texas: Baylor, 2011), 30. Simkins, Francis B., "New Viewpoints of Southern Reconstruction", Journal of Southern History, V (February 1939), pp. 49–61. The latest study of the film's making and subsequent career. Williamson, Joel, After Slavery: The Negro in South Carolina During Reconstruction (Chapel Hill, 1965). This book corrects Dixon's false reporting of Reconstruction, as shown in his novel, his play and this film. Further reading External links The Birth of a Nation essay by David Kehr at National Film Registry The Birth of a Nation: Controversial Classic Gets a Definitive New Restoration essay by Patrick Stanbury 1910s political films 1910s war drama films 1915 drama films 1915 films African-American-related controversies African-American-related controversies in film African-American riots in the United States American black-and-white films American Civil War films American epic films American films American films based on plays American propaganda films American silent feature films American war drama films Anti-war films Art works that caused riots Articles containing video clips Blackface minstrel shows and films Censored films Cultural depictions of John Wilkes Booth Cultural depictions of Robert E. Lee Cultural depictions of Ulysses S. Grant English-language films Fictional depictions of Abraham Lincoln in film Films about race and ethnicity Films about racism in the United States Films about the Ku Klux Klan Films based on adaptations Films based on American novels Films based on multiple works Films based on works by Thomas Dixon Jr. Films directed by D. W. Griffith Films set in South Carolina Films set in the 1860s Films set in the 1870s Films shot in Big Bear Lake, California Films shot in Mississippi Films with screenplays by D. W. Griffith Films with screenplays by Frank E. Woods History of racism in the cinema of the United States History of the Southern United States Mass media-related controversies in the United States Race-related controversies in film Presidency of Woodrow Wilson Reconstruction Era Surviving American silent films United States National Film Registry films White supremacy in the United States Films about American slavery Dunning School Lost Cause of the Confederacy Films shot in Los Angeles County, California	false	[ "In reliability engineering, dual modular redundancy (DMR) is when components of a system are duplicated, providing redundancy in case one should fail. It is particularly applied to systems where the duplicated components work in parallel, particularly in fault-tolerant computer systems. A typical example is a complex computer system which has duplicated nodes, so that should one node fail, another is ready to carry on its work.\n\nDMR provides robustness to the failure of one component, and error detection in case instruments or computers that should give the same result give different results, but does not provide error correction, as which component is correct and which is malfunctioning cannot be automatically determined. There is an old adage to this effect, stating: \"Never go to sea with two chronometers; take one or three.\" Meaning, if two chronometers contradict, a sailor may not know which one is reading correctly.\n\nA lockstep fault-tolerant machine uses replicated elements operating in parallel. At any time, all the replications of each element should be in the same state. The same inputs are provided to each replication, and the same outputs are expected. The outputs of the replications are compared using a voting circuit. A machine with two replications of each element is termed dual modular redundant (DMR). The voting circuit can then only detect a mismatch and recovery relies on other methods. Examples include 1ESS switch.\n\nA machine with three replications of each element is termed triple modular redundant (TMR). The voting circuit can determine which replication is in error when a two-to-one vote is observed. In this case, the voting circuit can output the correct result, and discard the erroneous version. After this, the internal state of the erroneous replication is assumed to be different from that of the other two, and the voting circuit can switch to a DMR mode. This model can be applied to any larger number of replications.\n\nExamples\nThe Submarine Command System SMCS used on submarines of the Royal Navy employs duplicated central computing nodes, interconnected by a duplicated LAN.\n\nSee also\nHot spare\n\nReferences\n\nEngineering concepts\nReliability engineering\nSafety\nFault tolerance\nFault-tolerant computer systems\nError detection and correction", "In the design of experiments, completely randomized designs are for studying the effects of one primary factor without the need to take other nuisance variables into account. This article describes completely randomized designs that have one primary factor. The experiment compares the values of a response variable based on the different levels of that primary factor. For completely randomized designs, the levels of the primary factor are randomly assigned to the experimental units.\n\nRandomization\nTo randomize is to determine the run sequence of the experimental units randomly. For example, if there are 3 levels of the primary factor with each level to be run 2 times, then there are 6! (where ! denotes factorial) possible run sequences (or ways to order the experimental trials). Because of the replication, the number of unique orderings is 90 (since 90 = 6!/(2!2!2!)). An example of an unrandomized design would be to always run 2 replications for the first level, then 2 for the second level, and finally 2 for the third level. To randomize the runs, one way would be to put 6 slips of paper in a box with 2 having level 1, 2 having level 2, and 2 having level 3. Before each run, one of the slips would be drawn blindly from the box and the level selected would be used for the next run of the experiment.\n\nIn practice, the randomization is typically performed by a computer program. However, the randomization can also be generated from random number tables or by some physical mechanism (e.g., drawing the slips of paper).\n\nThree key numbers\nAll completely randomized designs with one primary factor are defined by 3 numbers:\n\n k = number of factors (= 1 for these designs)\n L = number of levels\n n = number of replications\n\nand the total sample size (number of runs) is N = k × L × n. Balance dictates that the number of replications be the same at each level of the factor (this will maximize the sensitivity of subsequent statistical t- (or F-) tests).\n\nExample\nA typical example of a completely randomized design is the following:\n k = 1 factor (X1)\n L = 4 levels of that single factor (called \"1\", \"2\", \"3\", and \"4\")\n n = 3 replications per level\n N = 4 levels × 3 replications per level = 12 runs\n\nSample randomized sequence of trials\nThe randomized sequence of trials might look like: X1: 3, 1, 4, 2, 2, 1, 3, 4, 1, 2, 4, 3\n\nNote that in this example there are 12!/(3!3!3!*3!) = 369,600 ways to run the experiment, all equally likely to be picked by a randomization procedure.\n\nModel for a completely randomized design\nThe model for the response is\n\nwith\n Yi,j being any observation for which X1 = i (i and j denote the level of the factor and the replication within the level of the factor, respectively)\n μ (or mu) is the general location parameter\n Ti is the effect of having treatment level i\n\nEstimates and statistical tests\n\nEstimating and testing model factor levels\n Estimate for μ : = the average of all the data\n Estimate for Ti : \nwith = average of all Y for which X1 = i.\n\nStatistical tests for levels of X1 are those used for a one-way ANOVA and are detailed in the article on analysis of variance.\n\nBibliography\n\nSee also\nRandomized block design\n\nExternal links\nCompletely randomized designs\nCompletely randomized design (CRD)\n\nDesign of experiments\nAnalysis of variance\nStatistical models" ]
[ "Lawrence Alma-Tadema", "Later years" ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	What works did he paint during the later years?	1	What works did Lawrence Alma-Tadema paint during the later years?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	he also exhibited two works that earned him the Grand Prix Diploma.	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	true	[ "Alexander Julius Klünder (Russian: Александр Иванович Клюндер; 20 February 1802, Tallinn – 8 January 1875, Tallinn) was a Baltic-German painter and lithographer, known primarily for his portraits.\n\nBiography \nHis father was a tailor. After attending the public schools, he studied economics at the Imperial University of Dorpat (now the University of Tartu) from 1823 to 1826. At the same time, he pursued what would prove to be his true interests by studying at an art school operated by Karl August Senff. At that time, he created his first significant portrait, that of the newly graduated Friedrich Robert Faehlmann, who would later become a prominent physician and philologist.\n\nAfter completing his studies, he worked as a freelance artist and art teacher. In 1827, on the 25th anniversary of the University's reopening, he was commissioned to paint portraits of notable professors; a project which kept him occupied until 1829. After its completion, he moved to Saint Petersburg, where he devoted himself exclusively to portraiture, mostly miniatures.\n\nHe proved to be very successful there; in 1834, he was awarded the title of \"free artist\" and, in 1839, he became an Agrégé. Two years later, he was named an Academician and was elected a member of the Imperial Academy of Arts.\n\nIn addition to portraits of the Royal Family, other members of the nobility, and the government, his sitters included Mikhail Lermontov and the painter Karl Bryullov. He was also commissioned to paint a series of about 60 portraits depicting members of the Chevalier Guard Regiment, which he worked on until 1850. Later, he did a series devoted to historical military clothing and weapons.\n\nAfter becoming ill and retiring, he returned to Tallinn and spent his final years there.\n\nReferences\n\nExternal links \n\n Entry on Klünder @ the Baltisches Biografisches Lexikon\n Biographical notes and works @ Kunstnikud \n Works by Klünder @ the Art Museum of Estonia\n\n1802 births\n1875 deaths\nPeople from Tallinn\nPeople from the Governorate of Estonia\nBaltic-German people\nPortrait painters\n19th-century Estonian painters", "Peter Marralwanga (1916–1987), also known as Djakku, which means left-handed, was a Yolgnu artist known for his painting.\n\nBorn in 1916 in West Arnhem Land in the Northern Territory of Australia, and learning from Yirawala, a fellow artist and elder to Marralwanga from his community, Marralwanga is known for his creation of paintings both on paper and bark. Within these works, he reflects the artistic practices of his elders and community with elements of ceremonial and spiritual creatures alongside the cross-hatching pattern known as rarrk. He continued his legacy by teaching younger artists of his region such as his son, Ivan Namirrki, and nephew, John Mawurndjul. While Marralwanga did not begin to paint until later in his life, he is still highly regarded as an inspirational painter from the region.\n\nCareer \nMarralwanga began to paint relatively late in his life during his mid 50s around 1970. Under the guidance of Yirawala, Marralwanga began to incorporate elements of ceremony into his works. Due to his age, he had gained permission from the clan to incorporate ceremonial elements and knowledge into the works of art . In Yolngu art, much of the artistic content is sacred. The artists have strict guidelines on what they can depict in their works. Oftentimes artists who have special roles within a community receive exclusive rights to paint certain images. Marralwanga's use of rarrk also strayed from its original use for mortuary painting to ensure that traditional foods grow each season. Marralwanga passed his knowledge of rarrk to a new generation of artists and served as an inspiration to their works, much like Yirawala did for him.\n\nWhile much of Marralwanga's work was derived from ceremony, he still added elements from his own life and experience. Marralwanga described this interaction within his work between ceremony and his personal experience saying his works were “half secret one, half ordinary one.\" Marralwanga's choice to explore his own experience as well as his deep ceremonial knowledge allowed for Marralwanga to create a diverse body of work which depicted many figures and ceremonies.\n\nWorks \n Peter Marralwanga, Kuninjku people, Ngal-Kunburriyaymi 1982\n Ngalyod, the Rainbow Serpent, at Manabinbala, 1980-81\n Mimih Spirit Dancing at Catfish Ceremony, 1979\n Kangaroo with Headdress and Spirit Figures, c. 1980s\n\nExhibitions \n1981: Solo exhibition at Mary Macha at Aboriginal Traditional Arts\n1983: Solo exhibition at Mary Macha at Aboriginal Traditional Arts\n1989: A Myriad of Dreaming: Twentieth Century Aboriginal Art\n1991: Aboriginal Art and Spirituality\n2004: Crossing Country- the Alchemy of Western Arnhem Land Art\n\nReferences \n\n1916 births\n1987 deaths\n20th-century Australian artists\nIndigenous Australian artists\nArtists from the Northern Territory" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma." ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	Where did he exhibit the works?	2	Where did Lawrence Alma-Tadema exhibit the works?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris,	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	true	[ "Romà Ribera i Cirera (13 December 1848, Barcelona - 29 May 1935, Barcelona) was a Catalan genre painter. He specialized in contemporary scenes from upper-class social events, rendered in meticulous detail, but also did numerous scenes from life in the 17th and 18th centuries.\n\nBiography\nHe studied at the Escola de la Llotja and at the private school operated by Pere Borrell del Caso. In 1873, he went to Rome to complete his studies. While there, he met Marià Fortuny, who works would influence his style. After leaving Italy, he visited London to exhibit.\n\nOnce he had established himself, he settled in Paris. At a time when most artists were attracted to impressionism, he found inspiration in the works of James Tissot and Alfred Stevens. In 1878, he enjoyed great success at the Exposition Universelle. This enabled him to retain Adolphe Goupil as his agent. To maximize his income, he chose to solicit clients from the upper classes, portraying their activities and possessions.\n\nHe had a major showing at the exhibition at the 1888 Barcelona Universal Exposition, where he presented a series of watercolors. He returned to Barcelona in 1889, exhibiting at the Sala Parés. He pursued the same upper class client strategy there that he had in Paris. Occasionally, he travelled to exhibit in Madrid.\n\nIn 1902, he became a member of the Reial Acadèmia Catalana de Belles Arts de Sant Jordi and was chosen to sit on the \"\".\n\nSelected paintings\n\nReferences\n\nExternal links \n\nArtNet: More works by Ribera.\n\n1848 births\n1935 deaths\n19th-century Catalan painters\n20th-century Catalan painters\nSpanish genre painters\nPainters from Barcelona", "Ferrucio Rontini (1893 – 1964) was an Italian painter, active in Livorno.\n\nBiography\nHe was born in Florence, and trained at the Academy of Fine Arts of Florence. He was one of the founders of the Gruppo Labronico, displaying works with them in the first three exhibitions. However, he had a fierce disagreements and did not exhibit again until 1931, and again after the second world war.\n\nReferences\n\n20th-century Italian painters\nItalian male painters\nPeople from Livorno\nPainters from Tuscany\n1893 births\n1964 deaths" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma.", "Where did he exhibit the works?", "Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris," ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	Did he win any awards for his work?	3	Did Lawrence Alma-Tadema win any awards for his work?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889,	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	true	[ "This is a list of awards and nominations for composer Alan Menken. Menken has been recognized with multiple awards and nominations for his work in film, theatre, television, and music.\n\nFor his work in film he earned 19 Academy Award nominations winning 8 Oscars for The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995). He also earned 16 Golden Globe Award nominations winning 7 awards. He has earned two British Academy Film Award nominations, and five Critics' Choice Movie Award nominations. For his work in theatre he received five Tony Award nominations winning once, and 2 Laurence Olivier Awards winning once. He also received 24 Grammy Awards winning 11 awards. For his work in television he has earned two Emmy Awards.\n\nMajor associations\n\nAcademy Awards\n 8 wins out of 19 nominations\n\nEmmy Awards\n\nGrammy Awards \n 11 wins out of 24 nominations\n\nTony Awards \n1 win out of 5 nominations\n\nFilm awards\n\nBritish Academy Film Awards\n\nCritics' Choice Awards\n\nGolden Globe Awards\n 7 wins out of 16 nominations\n\nTheater work\n\nDrama Desk Awards \n 1 win out of 6 nominations\n\nDrama League Awards\n\nEvening Standard Award\n\nLaurence Olivier Awards\n1 win out of 2 nominations\n\nNew York Drama Critic Circle Awards\n\nOuter Critics Circle Awards \n3 wins out of 4 nominations\n\nMiscellaenous awards\n\nAnnie Awards\n 1 win out of 4 nominations\n\nBMI Film/TV Awards\n 8 wins out of 8 nominations + Richard Kirk Career Achievement Award\n\nGeorgia Film Critics Association Awards\n\nGolden Raspberry Award \n\nMenken officially accepted this Razzie and has spoken proudly of it in interviews since.\n\nHouston Film Critics Society Awards\n\nInternational Film Music Critics Awards\n1 win out of 3 nominations\n\nOnline Film and Television Awards\n\nPhoenix Film Critics Society Awards\n\nSaturn Awards\n 2 wins out of 5 nominations\n\nSierra Awards\n\nFrench Mickey d'Or \n3 wins out of 9 nominations\n\nSpecial honors\n\n 1993 – Distinguished Alumni Award (given by New York University Association)\n 1998 – Kol Zimrah Award (given by Hebrew Union College-Jewish Institute of Religion)\n 1998 – Colleen Dewhurst Awards: \"in recognition for outstanding contribution to the arts\" (given by Northern Westchester Center for the Arts)\n 2000 – Presidential Medal (given by New York University)\n 2001 – Disney Legend Award\n 2008 – Inductee: NYU Musical Theatre Hall of Fame\n 2008 – Inductee: Songwriter's Hall of Fame\n 2009 – Lifetime Achievement Award (given during the Musical Awards)\n 2010 – Hollywood Walk of Fame Star\n 2011 – Maestro Award (given by Billboard/The Hollywood Reporter Film and TV Conference)\n 2012 – Honors: \"for extraordinary life achievement\" (given by Encompass New Opera Theatre)\n 2013 – The Oscar Hammerstein Award (given by York Theatre Company)\n 2013 – Broadway Junior Honors: \"in recognition for his contribution towards the advancement of musical theatre for young people\"\n 2013 – Freddie G. Award for Musical Achievement (given during Junior Theatre Festival)\n\nReferences\n\nAwards\nMenken, Alan", "Sheena Napier is a British costume designer who was nominated at the 65th Academy Awards for her work on the film Enchanted April, for which she was nominated for Best Costumes.\n\nIn addition she did win at the BAFTA Television Awards for the TV film Parade's End, which she was also nominated for an Emmy for.\n\nReferences\n\nExternal links\n\nBritish costume designers\nLiving people\nBAFTA winners (people)\nWomen costume designers\nYear of birth missing (living people)" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma.", "Where did he exhibit the works?", "Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris,", "Did he win any awards for his work?", "receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889," ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	What other awards did he win?	4	Other than the medal of Honour at the Paris Exposition Universelle of 1889, what other awards did Lawrence Alma-Tadema win?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	the Great Gold Medal at the International Exposition in Brussels of 1897.	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	true	[ "Ricky Gervais ( ; born 25 June 1961) is an English comedian, actor, writer, producer, and director. He is best known for co-creating, writing, and acting in the British television series The Office (2001–2003). He has won seven BAFTA Awards, five British Comedy Awards, two Primetime Emmy Awards, three Golden Globe Awards, and the Rose d'Or twice (2006 and 2019), as well as a Screen Actors Guild Award nomination. In 2007, he was placed at No. 11 on Channel 4's 100 Greatest Stand-Ups and at No. 3 on the updated 2010 list. In 2010, he was named on the Time 100 list of the world's most influential people. In 2002 he was nominated to be Britain's Funniest Man but did not win the award, he did however beat some gangsters up in a pub when an old man was being hassled, against the odds.\n\nMajor awards\n\nPrimetime Emmy Awards\n\nGolden Globe Awards\n\nBAFTA Television Awards\n\nScreen Actors Guild Awards\n\nWriters Guild of America Awards\n\nProducers Guild of America Awards\n\nOther awards\n\nBritannia Awards\n\nBritish Comedy Guide Awards\n\nBritish Comedy Awards\n\nBroadcasting Press Guild Awards\n\nEvening Standard British Film Awards\n\nSatellite Award\n\nTelevision Critics Association Awards\n\nReferences \n\nLists of awards received by actor", "The following is a list of awards and nominations received by Welsh actor and director Anthony Hopkins. \n\nHe is an Oscar-winning actor, having received six Academy award nominations winning two of these for Best Actor for his performance as Hannibal Lecter in the Jonathan Demme thriller The Silence of the Lambs (1991) and for his performance as Anthony in Florian Zeller's drama The Father (2020). He also was nominated for his performances as in James Ivory's The Remains of the Day (1993), Richard Nixon in Oliver Stone's drama Nixon (1995), John Quincy Adams in Amistad (1997), and Pope Benedict XVI in the Fernando Meirelles drama The Two Popes (2019). \n\nFor his work on film and television, he has received eight Golden Globe award nominations. In 2006 he was honored with the Cecil B. DeMille award for his lifetime achievement in the entertainment industry. He has received six Primetime Emmy award nominations winning two—one in 1976 for his performance as Richard Hauptmann in The Lindbergh Kidnapping Case and the other in 1981 for his performance as Adolf Hitler in The Bunker, as well as seven Screen Actors Guild award nominations all of which have been respectively lost.\n\nMajor associations\n\nAcademy Awards \n2 wins out of 6 nominations\n\nBAFTA Awards \n4 wins (and one honorary award) out of 9 nominations\n\nEmmy Awards \n2 wins out of 6 nominations\n\nGolden Globe Awards \n0 wins (and one honorary award) out of 8 nominations\n\nOlivier Awards \n1 win out of 2 nominations\n\nScreen Actors Guild Awards \n0 wins out of 7 nominations\n\nAudience awards\n\nMTV Movie + TV awards \n0 wins out of 2 nominations\n\nPeople's Choice awards \n0 wins out of 1 nomination\n\nCritic and association awards\n\nAlliance of Women Film Journalists awards \n1 win out of 2 nominations\n\nBoston Society of Film Critics awards \n1 win out of 1 nomination\n\nCableACE awards \n1 win out of 2 nominations\n\nChicago Film Critics Association awards \n1 win out of 5 nominations\n\nCritics' Choice awards \n1 win out of 4 nominations\n\nDallas-Fort Worth Film Critics Association awards \n2 wins out of 2 nominations\n\nKansas City Film Critics Circle awards \n2 wins out of 2 nominations\n\nLondon Critics Circle Film awards \n1 win out of 5 nominations\n\nLos Angeles Film Critics Association awards \n1 win out of 2 nominations\n\nNational Board of Review awards \n2 wins out of 2 nominations\n\nNational Society of Film Critics awards \n0 wins out of 1 nomination\n\nNew York Film Critics Circle awards \n1 win out of 3 nominations\n\nOnline Film & Television Association awards \n1 win out of 3 nominations\n\nOnline Film Critics Society awards \n0 wins out of 1 nomination\n\nPhoenix Film Critics Society awards \n0 wins out of 1 nomination\n\nSoutheastern Film Critics Association awards \n1 win out of 2 nominations\n\nSt. Louis Film Critics Association awards \n1 win out of 2 nomination\n\nWomen's Image Network awards \n0 wins out of 1 nomination\n\nFilm festival awards\n\nHollywood Film Festival awards \n2 wins out of 2 nominations\n\nLocarno International Film Festival awards \n1 win out of 2 nominations\n\nMethod Fest awards \n0 wins out of 1 nomination\n\nMoscow International Film Festival awards \n1 win out of 1 nomination\n\nSan Sebastian International Film Festival awards \n1 win out of 1 nomination\n\nSanta Barbara International Film Festival awards \n1 win out of 1 nomination\n\nShoWest Convention awards \n1 win out of 1 nomination\n\nSitges - Catalonian International Film Festival awards \n0 wins out of 1 nomination\n\nUSA Film Festival awards \n1 win out of 1 nomination\n\nVirginia Film Festival awards \n1 win out of 1 nomination\n\nInternational awards\n\nBAFTA/LA Britannia awards \n1 win out of 1 nominations\n\nDavid di Donatello awards \n1 win out of 2 nominations\n\nEuropean Film Awards \n1 win out of 1 nomination\n\nEvening Standard British Film awards \n1 win out of 1 nomination\n\nJupiter awards \n0 wins out of 1 nomination\n\nNew Zealand Screen awards \n1 win out of 1 nomination\n\nSant Jordi awards \n1 win out of 1 nomination\n\nYoga awards \n1 win out of 1 nomination\n\nMiscellaneous awards\n\n20/20 awards \n1 win out of 3 nominations\n\nAARP Movies for Grownups awards \n1 win out of 4 nominations\n\nFangoria Chainsaw awards \n3 wins out of 4 nominations\n\nGolden Raspberry awards \n0 wins out of 2 nominations\n\nHasty Pudding Theatricals awards \n1 win out of 1 nomination\n\nMovieGuide awards \n0 wins out of 1 nomination\n\nSatellite awards \n0 wins out of 1 nomination\n\nSaturn awards \n1 win out of 5 nominations\n\nWalk of Fame \n1 win out of 1 nomination\n\nWestern Heritage awards \n1 win out of 1 nomination\n\nReferences\n\nHopkins, Anthony" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma.", "Where did he exhibit the works?", "Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris,", "Did he win any awards for his work?", "receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889,", "What other awards did he win?", "the Great Gold Medal at the International Exposition in Brussels of 1897." ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	Did anyone of note comment about his work?	5	Did anyone of note comment about Lawrence Alma-Tadema's work?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	CANNOTANSWER	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	false	[ "Comment may refer to:\n\n Comment (linguistics) or rheme, that which is said about the topic (theme) of a sentence\n Bernard Comment (born 1960), Swiss writer and publisher\n\nComputing\n Comment (computer programming), explanatory text or information embedded in the source code of a computer program\n Comment programming, a software development technique based on the regular use of comment tags\n\nLaw\n Public comment, a term used by various U.S. government agencies, referring to comments invited regarding a report or proposal\n Short scholarly papers written by members of a law review\n Comments on proposed rules under the rulemaking process in United States administrative law\n\nMedia and entertainment\n Comment (TV series), a 1958 Australian television series \nComment (album), a 1970 album by Les McCann\n \"Comment\", a 1969 song by Charles Wright & the Watts 103rd Street Rhythm Band\n Comment, a quarterly journal published by Cardus\n Comment, later aCOMMENT, an Australian quarterly literary magazine published 1940-7\n Comment section, a user-generated content feature of Web content allowing readers to publish comments\n\nSee also\n \n Commentary (disambiguation)\n Comment spam (disambiguation)\n Internet commentator (disambiguation)\n Remark (disambiguation)\n Request for Comments, an Internet Engineering Task Force (IETF) memorandum on Internet systems and standards\n Annotation, an explanation included with other data\n Footnote, a note at the bottom of a page\n Obiter dictum, a remark or observation made by a judge that does not form a necessary part of the court's decision", "Agostino Vespucci was a Florentine chancellery official, clerk, and assistant to Niccolò Machiavelli, among others. He is most well known for helping to confirm the subject of Leonardo da Vinci's Mona Lisa as Lisa del Giocondo, but is also the author of a number of surviving letters and manuscripts.\n\nMona Lisa\n\nThe identity of the young woman in Leonardo's Mona Lisa had been difficult to ascertain due to a lack of decisive contemporary sources of information about the painting. This changed upon the discovery of a comment written by Vespucci in the margin of a 1477 edition of Cicero's , now held by the Heidelberg University Library. The discovery was made by Dr. Armin Schlechter in 2005 while he was cataloguing the book for an incunabula exhibit at the library.\n\nThe unabbreviated Latin text of the note is as follows: (English: \"Apelles the painter. That is the way Leonardo da Vinci does it with all of his pictures, like, for example, with the countenance of Lisa del Giocondo and that of Anne, the mother of the Virgin. We will see how he is going to do it regarding the great council chamber, the thing which he has just come to terms about with the gonfaloniere. October 1503.\")\n\nIn the comment Vespucci notes a similarity of style between Leonardo and the renowned ancient Greek painter Apelles, in that both artists would first render the head and shoulders of subjects in extraordinary detail before continuing with the rest of the painting. As an example Vespucci lists Leonardo's work on the portrait of \"Lisa del Giocondo,\" and dates his comment \"October 1503.\" The inclusion of the name and date allowed validation with a later known (but often unreliable) source published in 1550 and written by art historian Giorgio Vasari, who states that during this period Leonardo had taken a commission from Francesco del Giocondo to paint his wife, \".\" Here Mona was not intended as a name, but as an abbreviation of , the Italian literary form of Lady.\n\nNotes\n\nReferences\n\n15th-century births\n16th-century deaths\n16th-century people of the Republic of Florence" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma.", "Where did he exhibit the works?", "Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris,", "Did he win any awards for his work?", "receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889,", "What other awards did he win?", "the Great Gold Medal at the International Exposition in Brussels of 1897.", "Did anyone of note comment about his work?", "I don't know." ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	What is the most fascinating part of the later years of Alma-Tadema?	6	What is the most fascinating part of the later years of Alma-Tadema?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	Alma-Tadema was very active with theatre design and production, designing many costumes.	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	true	[ "Anna Alma-Tadema (née Anna Tadema) (1867–1943) was a British artist and suffragette. Alma-Tadema primarily worked with drawings and paintings, creating many portraits and representations of interior scenes, flowers and buildings. She was influenced by her father, Sir Lawrence Alma-Tadema, and showed her works at exhibitions with him and her step-mother, Laura Theresa Alma-Tadema. Her work was shown at national exhibitions, including the Royal Academy of Arts and the 1893 World's Columbian Exposition in Chicago. Anna Alma-Tadema was recognized for her achievements as an artist at the 1893 World's Columbian Exposition in Chicago and the 1889 Paris Exhibition.\n\nEarly life\nAnna Alma-Tadema was the second daughter of Dutch painter Sir Lawrence Alma-Tadema and his French wife, Marie-Pauline Gressin-Dumoulin de Boisgirard who lived in Brussels. Her older sister, Laurense, was born in 1864. The girls' mother died in 1869. Lawrence and his daughters then moved to England. Her father married for the second time to Laura Epps in 1871, when Anna was four years old. \n\nAnna Alma-Tadema was raised in London with her family. Laurense received her education at home and it is believed that Anna was home-schooled as well. Anna Alma-Tadema appears at least twice in paintings by her father. In 1873, she and her sister were depicted in This is Our Corner, and then in 1883, her father painted her portrait.\n\nAnna's mother, father and step-mother were painters, and as a result, she was raised in a very artistic household. Lawrence was inspired by words from antiquity and developed a style that was emulated by Laura, Anna and other artists. Once he died, the popularity of his works and style waned for about six decades. Anna's sister, Laurense, was a poet, painter, novelist, critic, playwright, and short story author.\n\nWork as an artist\nAlma-Tadema was described by biographer Helen Zimmern as a \"delicate, dainty artist who has inherited so much of her father's power for reproducing detail.\" During her time as an artist, Anna Alma-Tadema created several portraits, representations of flowers, as well as watercolor depictions of house interiors and buildings. One such example of Alma-Tadema's portraits is Miss Tessa Gosse. This and other works, such as The Misty Valley and The Gold Room, were shown at the Royal Academy of Arts.\n\nAnna Alma-Tadema made watercolours of the interior of the Alma-Tadema family house, Townshend House in Tichfield Terrace, near Regent's Park in London. The family home was extravagantly decorated by her father to resemble a Roman villa. The Drawing Room, which Alma-Tadema painted when she was a teenager, was exhibited in 1893 at the Columbian Exposition in Chicago. Additionally, in 1885 Alma-Tadema painted The Gold Room, which also represented the interior of the family home.\n\nAlma-Tadema exhibited her works in England for approximately forty years, between 1885 and 1928. Alma-Tadema showed fifteen works at the Royal Academy between 1885 and 1928, including The Gold Room, Miss Tessa Gosse, The Misty Valley, and The Idler's Harvest. Although she resided in London, Anna Alma-Tadema also exhibited works abroad. In 1889, she won a medal at an exhibition in Paris. Additionally, Anna, her father Lawrence, and her stepmother Laura all exhibited and won prizes at the World's Columbian Exposition at Chicago in 1893.\n\nAnna Alma-Tadema's works continue to be exhibited today. For example, the artist's works were included within the April 2011 Victoria and Albert Museum's exhibition, The Cult of Beauty: The Aesthetic Movement 1860–1900 in London.\n\nSelected works\n\nPersonal life\nAlma-Tadema was committed to women's suffrage and signed the Some Supporters of the Women's Suffrage Movement in 1897.\nNeither Anna Alma-Tadema nor her sister married. They were poor and did not have successful careers in their later years.\n\nNotes\n\nReferences\n\nFurther reading\n Gere, Charlotte, Artistic Circles: Design and Decoration in the Aesthetic Movement, V & A Publishing, 2010\n\nExternal links\n\n1867 births\n1943 deaths\n19th-century British painters\n20th-century British painters\nBritish portrait painters\nBritish women painters\nSuffragettes\n20th-century British women artists\n19th-century British women artists", "Alma-Tadema is a surname. Notable people with the surname include:\n\n Lawrence Alma-Tadema (1836–1912), Dutch painter\n Laura Theresa Alma-Tadema (1852-1909), English painter and second wife of Sir Lawrence\n Laurence Alma-Tadema (1865–1940), novelist and poet; Sir Lawrence's first daughter\n Anna Alma-Tadema (1867–1943), painter; Sir Lawrence's second daughter\n\nSee also\n Steinway Alma Tadema, a special version of the Steinway D-274 concert piano, designed by Sir Lawrence\n\nCompound surnames" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma.", "Where did he exhibit the works?", "Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris,", "Did he win any awards for his work?", "receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889,", "What other awards did he win?", "the Great Gold Medal at the International Exposition in Brussels of 1897.", "Did anyone of note comment about his work?", "I don't know.", "What is the most fascinating part of the later years of Alma-Tadema?", "Alma-Tadema was very active with theatre design and production, designing many costumes." ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	What plays or productions did he work on?	7	What plays or productions did Lawrence Alma-Tadema work on?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs,	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	true	[ "Stephen Winthrop Porter (July 24, 1925 – June 11, 2013) was an American stage and television director, producer, set designer and writer best known for directing the classics, especially George Bernard Shaw, Molière and Shakespeare. Porter directed more than thirty Broadway plays and many regional, Off-Broadway and other productions over his long career. He was nominated for two Tony Awards and two Drama Desk Awards for his work as a director.\n\nBiography\nStephen Porter was born in Ogdensburg, New York to Charles Talbot and Anna Martin. His father was an engineer and his mother a school teacher. Porter studied at Yale University. He died in New York City, his longtime home, on June 11, 2013.\n\nCareer\nPorter began his career as a teacher, director and designer for McGill University in Montreal, Quebec, Canada. He worked at the university from 1952 to 1955 and while there directed productions of Measure for Measure, Les Caprices de Marianne, The Cenci, The Seagull and Much Ado About Nothing. He then directed at various theatres in Canada. In 1956, Porter moved to New York City to direct and produce The Misanthrope at the Off-Broadway Theatre East. Porter remained in New York for the next three years directing and/or producing several Broadway and off-Broadway plays, including productions of The Country Wife, Mister Roberts, Cat on a Hot Tin Roof, The Matchmaker, Inherit the Wind, Auntie Mame and Room at the Top. In 1959, Porter moved to Milwaukee, Wisconsin to work for the Fred Miller Theatre where he directed two plays: the Dark of the Moon and Our Town.\n\nIn 1960, Porter became the Director for the Association of Producing Artists (APA) at the McCarter Theatre in Princeton, New Jersey. During his two-year tenure there, he directed such plays as Right You Are by Luigi Pirandello, Scapin, King Lear, Twelfth Night, The Alchemist, Antigone, Caligula, Galileo and Julius Caesar. In 1962, Porter became the Artistic Director for the Playhouse in the Park in Cincinnati, Ohio. He held that position for three years, directing many plays, including The Lady's Not for Burning, The Hostage, The Devil's Disciple, The Burnt Flower Bed by Ugo Betti, The Doctor in Spite of Himself, Major Barbara and Sodom and Gomorrah among others. During this time, Porter also directed several plays in New York City, including Scapin for the Phoenix Theatre company in 1963; three different productions of Right You Are in 1963, 1964 and 1966; Impromptu at Versailles for Phoenix Theatre in 1964; The Hostage and Man and Superman (written by Porter) in 1964; three successful Broadway revivals in a row: The Wild Duck (1965), The Show-Off (1967) and The Misanthrope (1968); Krapp's Last Tape; King Lear; Twelfth Night; another Broadway revival, Private Lives, in 1969, and Harvey (1970).\n\nIn 1971, Porter became the artistic director of the New Phoenix Repertory Company in New York City. Porter remained in that position for five years, and while there directed and produced several productions including: The School for Wives (1971), Dom Juan, The Visit (1973), Chemin de fer (1974), Rules of the Game and They Knew What They Wanted. After this, he directed for Circle in the Square, including their successful 1977 revival of The Importance of Being Earnest. During this decade, Porter received considerable acclaim, receiving nominations for Tony Awards for Best Director of a Play for his work on The School for Wives (1971) and Chemin de Fer (1974), as well as nominations for Drama Desk Awards for Outstanding Director of a Play for his work on They Knew What They Wanted (1976) and Man and Superman (1979).\n\nSince then, Porter has directed more than fifty more plays either on or off Broadway or at Regional theaters throughout the United States and Canada. More recent credits include the Broadway productions of The Devil's Disciple (1988) and The Miser (1990) and Getting Married (1991). Porter has also directed a few Television productions, most notably PBS' 1974 production of A Touch of the Poet.\n\nReferences\n\nExternal links\n\n \n\n1925 births\n2013 deaths\nAmerican theatre directors\nYale University alumni\nAmerican expatriates in Canada", "Deadline is a Big Finish Productions audio drama based on the long-running British science fiction television series Doctor Who. The Doctor Who Unbound dramas pose a series of \"What if...?\" questions.\n\nPlot\nWhat if... Doctor Who did not materialise as a television series?\n\nMartin Bannister was once a promising young writer, but somewhere along the line everything went wrong. As he looks back at the ruin of his life, he wonders whether it all started with that children's science fiction programme that never got produced. Whatever became of Doctor Who?\n\nCast\nMartin Bannister/Doctor Who — Sir Derek Jacobi\nSusan/Amy — Genevieve Swallow\nPhilip/Ian — Peter Forbes\nBarbara/Miss Wright — Jacqueline King\nSydney Newman/Sydney/Supreme One — Ian Brooker\nTom — Adam Manning\nOther parts played by members of the cast.\n\nNotes\nSir Derek Jacobi later played two different incarnations of the Master, once in the internet animation Scream of the Shalka, and later on television in \"Utopia\". Both of these productions also featured David Tennant. Jacqueline King later had a recurring role in the fourth series of the revived show as Sylvia Noble.\n Martin's scripts and dreams use plot elements from An Unearthly Child, The Daleks, Auld Mortality and the unmade The Masters of Luxor\n\nExternal links\nBig Finish Productions - Deadline\n\n2003 audio plays\nDoctor Who Unbound audio plays\nAudio plays by Robert Shearman\nBlack comedy\nTragicomedy" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma.", "Where did he exhibit the works?", "Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris,", "Did he win any awards for his work?", "receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889,", "What other awards did he win?", "the Great Gold Medal at the International Exposition in Brussels of 1897.", "Did anyone of note comment about his work?", "I don't know.", "What is the most fascinating part of the later years of Alma-Tadema?", "Alma-Tadema was very active with theatre design and production, designing many costumes.", "What plays or productions did he work on?", "He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs," ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	What other things inspired his work?	8	Aside from Pompeian or Egyptian motifs, what other things inspired Lawrence Alma-Tadema's work?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903).	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	false	[ "Krimson Creek is the second studio album and third solo release overall by Boondox. It was released on May 13, 2008 on Psychopathic Records. The liner notes included with the album contained excerpts from all 15 tracks on the album, also included was a foldout poster featuring a larger, complete depiction of the cover art.\n\nMusic and lyrics\nKrimson Creek is a more personal work than The Harvest, with songs inspired by events from Boondox' life, including an incident in which his uncle tried to kill him by drowning him in a swimming pool, getting into fights at his school and experiments with drugs. The final track, \"Death of a Hater\", was inspired by negative reactions to his music. \"I’ve read things where I’ve had people say, 'I hate him. I hope he dies. I hope his kids die' [...] I pretty much wrote a song about what I would do to those people.\"\n\nReception\n\nAllrovi wrote, \"For lovers of gore-drenched rap-rock, KRIMSON CREEK will satisfy.\"\n\nThe album peaked at number 1 on Billboard's Top Heatseekers, number 13 on the magazine's Top Independent Albums chart, and number 113 on the Billboard 200.\n\nTrack listing\n\nPersonnel\n\nVocals, Lyrics\nBoondox \nViolent J - (5)\nInsane Clown Posse - (7)\nMonoxide Child - (14)\nBlaze Ya Dead Homie - (14)\nJamie Madrox - (15)\n\nProduction (music by)\nBoondox - (1)\nKuma - (1, 3, 6, 9, 14, 15)\nMike E. Clark - (2, 4, 8, 13)\nTino Grosse - (2, 13)\nDarkeonz - (5)\nEric Davie - (7)\nViolent J - (10)\nScott Sumner - (11)\nUnderrated - (12)\n\nOther Production (Engineered by)\nEric Davie - (2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15)\nDr. Punch - (2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15)\n\nCharts\n\nReferences\n\nExternal links\n\n2008 albums\nAlbums produced by Joseph Bruce\nAlbums produced by Mike E. Clark\nBoondox albums\nPsychopathic Records albums", "Of All Things I Will Soon Grow Tired is the second studio album by American punk rock band Joyce Manor released on April 14, 2012.\n\nThe artwork for Of All Things I Will Soon Grow Tired was inspired by GI and What We Do Is Secret by the Germs. This album also contains a cover of The Buggles' 1979 single \"Video Killed the Radio Star\".\n\nTrack listing\n\nPersonnel\nJoyce Manor\n Barry Johnson - vocals/guitar\n Matt Ebert - bass/vocals\n Chase Knobbe - guitar\n Kurt Walcher - drums\n\nReferences\n\n2012 albums\nAsian Man Records albums\nBig Scary Monsters Recording Company albums\nJoyce Manor albums\nAlbums produced by Jack Shirley" ]
[ "Lawrence Alma-Tadema", "Later years", "What works did he paint during the later years?", "he also exhibited two works that earned him the Grand Prix Diploma.", "Where did he exhibit the works?", "Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris,", "Did he win any awards for his work?", "receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889,", "What other awards did he win?", "the Great Gold Medal at the International Exposition in Brussels of 1897.", "Did anyone of note comment about his work?", "I don't know.", "What is the most fascinating part of the later years of Alma-Tadema?", "Alma-Tadema was very active with theatre design and production, designing many costumes.", "What plays or productions did he work on?", "He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs,", "What other things inspired his work?", "which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903)." ]	C_65e2874dc2694abaa5ca8ea17b33fe5e_1	Did he inspire or influence any other painters?	9	\Besides Silver Favourites, did Lawrence Alma-Tadema inspire or influence any other painters?	Lawrence Alma-Tadema	Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary member of the Oxford University Dramatic Society in 1890, the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was Knighted in England, only the eighth artist from the Continent to receive the honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. His diverse interests highlight his talents. Each of these exploits were used in his paintings, as he often incorporated some of his designed furniture into the composition, and must have used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings, which repeat the successful formula of women in marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1906 and his death six years later, Alma-Tadema painted less but still produced ambitious paintings like The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in a crypt in St Paul's Cathedral in London. CANNOTANSWER	CANNOTANSWER	Sir Lawrence Alma-Tadema, (; born Lourens Alma Tadema ; 8 January 1836 – 25 June 1912) was a Dutch painter of special British denizenship. Born in Dronryp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in London, England in 1870 and spent the rest of his life there. A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean Sea and sky. Alma-Tadema was considered one of the most popular Victorian painters. Though admired during his lifetime for his draftsmanship and depictions of Classical antiquity, his work fell into disrepute after his death, and only since the 1960s has it been re-evaluated for its importance within nineteenth-century British art. Biography Early life Lourens Alma Tadema was born on 8 January 1836 in the village of Dronryp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning 'son of Tade', while the names Lourens and Alma came from his godfather. He was the sixth child of Pieter Jiltes Tadema (1797–1840), the village notary, and the third child of Hinke Dirks Brouwer (–1863). His father had three sons from a previous marriage. His parents' first child died young, and the second was Artje (–1876), Lourens' sister, for whom he had great affection. The Tadema family moved in 1838 to the nearby city of Leeuwarden, where Pieter's position as a notary would be more lucrative. His father died when Lourens was four, leaving his mother with five children: Lourens, his sister, and three boys from his father's first marriage. His mother had artistic leanings, and decided that drawing lessons should be incorporated into the children's education. He received his first art training with a local drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer; but in 1851 at the age of fifteen he suffered a physical and mental breakdown. Diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices, he regained his health and decided to pursue a career as an artist. Move to Belgium In 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tadema's four years as a registered student at the Academy, he won several awards. Before leaving the Academy, towards the end of 1855, he became assistant to the painter and professor Louis (Lodewijk) Jan de Taeye, whose courses in history and historical costume he had greatly enjoyed at the Academy. Although de Taeye was not an outstanding painter, Alma-Tadema respected him and became his studio assistant, working with him for three years. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career. He was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Alma-Tadema left Taeye's studio in November 1858 returning to Leeuwarden before settling in Antwerp, where he began working with the painter Baron Jan August Hendrik Leys, whose studio was one of the most highly regarded in Belgium. Under his guidance Alma-Tadema painted his first major work: The Education of the children of Clovis (1861). This painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame and reputation. Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this criticism very seriously, and it led him to improve his technique and to become the world's foremost painter of marble and variegated granite. Despite any reproaches from his master, The Education of the Children of Clovis was well received by critics and artists alike and was eventually purchased and subsequently given to King Leopold of Belgium. In 1860 he befriended the Anglo-Dutch Dommersen family of artists in Utrecht In 1862 he made pencil drawings of Mrs. Cornelia Dommershuizen and one of her sons Thomas Hendrik, whose brothers were the painters Pieter Cornelis Dommersen and Cornelis Christiaan Dommersen. Early works Merovingian themes were the painter's favourite subject up to the mid-1860s. However Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt, which were more popular. In 1862 Alma-Tadema left Leys's studio and started his own career, establishing himself as a significant classical-subject European artist. 1863 was to alter the course of Alma-Tadema's personal and professional life: on 3 January his invalid mother died, and on 24 September he was married, in Antwerp City Hall, to Marie-Pauline Gressin-Dumoulin de Boisgirard, the daughter of Eugène Gressin-Dumoulin, a French journalist living near Brussels. Nothing is known of their meeting and little of Pauline herself, as Alma-Tadema never spoke about her after her death in 1869. Her image appears in a number of oils, though he painted her portrait only three times, the most notable appearing in My studio (1867). The couple had three children. Their eldest and only son lived only a few months dying of smallpox. Their two daughters, Laurence (1864–1940) and Anna (1867–1943), both had artistic leanings: the former in literature, the latter in art. Neither would marry. Alma-Tadema and his wife spent their honeymoon in Florence, Rome, Naples and Pompeii. This, his first visit to Italy, developed his interest in depicting the life of ancient Greece and Rome, especially the latter since he found new inspiration in the ruins of Pompeii, which fascinated him and would inspire much of his work in the coming decades. During the summer of 1864, Tadema met Ernest Gambart, the most influential print publisher and art dealer of the period. Gambart was highly impressed with the work of Tadema, who was then painting Egyptian Chess Players (1865). The dealer, recognising at once the unusual gifts of the young painter, gave him an order for twenty-four pictures and arranged for three of Tadema's paintings to be shown in London. In 1865, Tadema relocated to Brussels where he was named a knight of the Order of Leopold. On 28 May 1869, after years of ill health, Pauline died of smallpox at Schaerbeek in Belgium, aged 32. Her death left Tadema disconsolate and depressed. He ceased painting for nearly four months. His sister Artje, who lived with the family, helped with the two daughters then aged five and two. Artje took over the role of housekeeper and remained with the family until 1873 when she married. During the summer Tadema himself began to suffer from a medical problem which doctors in Brussels were unable to diagnose. Gambart eventually advised him to go to England for another medical opinion. Soon after his arrival in London in December 1869, Alma-Tadema was invited to the home of the painter Ford Madox Brown. There he met Laura Theresa Epps, who was seventeen years old, and fell in love with her at first sight. Move to England The outbreak of the Franco-Prussian War in July 1870 encouraged Alma-Tadema to leave the continent and move to London. His infatuation with Laura Epps played a great part in his relocation to England and in addition Gambart felt that the move would be advantageous to the artist's career. In stating his reasons for the move, Tadema simply said "I lost my first wife, a French lady with whom I married in 1863, in 1869. Having always had a great predilection for London, the only place where, up till then my work had met with buyers, I decided to leave the continent and go to settle in England, where I have found a true home." With his small daughters and sister Atje, Alma-Tadema arrived in London at the beginning of September 1870. The painter wasted no time in contacting Laura, and it was arranged that he would give her painting lessons. During one of these, he proposed marriage. As he was then thirty-four and Laura was now only eighteen, her father was initially opposed to the idea. Dr Epps finally agreed on the condition that they should wait until they knew each other better. They married in July 1871. Laura, under her married name, also won a high reputation as an artist, and appears in numerous of Alma-Tadema's canvases after their marriage (The Women of Amphissa (1887) being a notable example). This second marriage was enduring and happy, though childless, and Laura became stepmother to Anna and Laurence. Anna became a painter and Laurence became a novelist. In England he initially adopted the name Laurence Alma Tadema instead of Lourens Alma Tadema and later used the more English spelling Lawrence for his forename. He also incorporated Alma into his surname so that he appeared at the beginning of exhibition catalogues, under "A" rather than under "T". He did not actually hyphenate his last name, but it was done by others and this has since become the convention. Victorian painter After his arrival in England, where he was to spend the rest of his life, Alma-Tadema's career was one of continued success. He became one of the most famous and highly paid artists of his time, acknowledged and rewarded. By 1871 he had met and befriended most of the major Pre-Raphaelite painters and it was in part due to their influence that the artist brightened his palette, varied his hues, and lightened his brushwork. In 1872 Alma-Tadema organised his paintings into an identification system by including an opus number under his signature and assigning his earlier pictures numbers as well. Portrait of my sister, Artje, painted in 1851, is numbered opus I, while two months before his death he completed Preparations in the Coliseum, opus CCCCVIII. Such a system made it more difficult for fakes to be passed off as originals. In 1873 Queen Victoria in Council by letters patent made Alma-Tadema and his wife what are still up to the present time the last British Denizens created (the legal process has theoretically not yet been abolished in the United Kingdom), with some limited special rights otherwise only accorded to and enjoyed by British subjects (that is, those would now be called British citizens). The previous year he and his wife made a journey on the continent that lasted five and a half months and took them through Brussels, Germany, and Italy. In Italy Alma-Tadema was able to take in the ancient ruins again; this time he purchased several photographs, mostly of the ruins, which began his immense collection of folios with archival material used in the completion of future paintings. In January 1876, he rented a studio in Rome. The family returned to London in April, visiting the Parisian Salon on their way back. In London he regularly met with fellow-artist Emil Fuchs. Among the most important of his pictures during this period was An Audience at Agrippa's (1876). When an admirer of the painting offered to pay a substantial sum for a painting with a similar theme, Alma-Tadema simply turned the emperor around to show him leaving, in After the Audience. On 19 June 1879, Alma-Tadema was made a Royal Academician, his most personally important award. Three years later, a major retrospective of his entire oeuvre was organised at the Grosvenor Gallery in London, including 185 of his pictures. In 1883 he returned to Rome and, most notably, Pompeii, where further excavations had taken place since his last visit. He spent a significant amount of time studying the site, going there daily. These excursions gave him an ample source of subject matter as he began to further his knowledge of daily Roman life. At times, however, he integrated so many objects into his paintings that some said they resembled museum catalogues. One of his most famous paintings is The Roses of Heliogabalus (1888) – based on an episode from the life of the debauched Roman emperor Elagabalus (Heliogabalus), the painting depicts the emperor suffocating his guests at an orgy under a cascade of rose petals. The blossoms depicted were sent weekly to the artist's London studio from the French Riviera for four months during the winter of 1887–1888. Among Alma-Tadema's works of this period are: An Earthly Paradise (1891), Unconscious Rivals (1893) Spring (1894), The Coliseum (1896) and The Baths of Caracalla (1899). Although Alma-Tadema's fame rests on his paintings set in antiquity, he also painted portraits, landscapes and watercolours, and made some etchings himself (although many more were made of his paintings by others). Personality For all the quiet charm and erudition of his paintings, Alma-Tadema himself preserved a youthful sense of mischief. He was childlike in his practical jokes and in his sudden bursts of bad temper, which could as suddenly subside into an engaging smile. In his personal life, Alma-Tadema was an extrovert and had a remarkably warm personality. He had most of the characteristics of a child, coupled with the traits of a consummate professional. A perfectionist, he remained in all respects a diligent, if somewhat obsessive and pedantic worker. He was an excellent businessman, and one of the wealthiest artists of the nineteenth century. Alma-Tadema was as firm in money matters as he was with the quality of his work. As a man, Lawrence Alma-Tadema was a robust, fun loving and rather portly gentleman. There was not a hint of the delicate artist about him; he was a cheerful lover of wine, women, and parties. Later years Alma-Tadema's output decreased with time, partly on account of health, but also because of his obsession with decorating his new home, to which he moved in 1883. Nevertheless, he continued to exhibit throughout the 1880s and into the next decade, receiving a plentiful amount of accolades along the way, including the medal of Honour at the Paris Exposition Universelle of 1889, election to an honorary membership of the Oxford University Dramatic Society in 1890, and the Great Gold Medal at the International Exposition in Brussels of 1897. In 1899 he was knighted in England, only the eighth artist from the Continent to receive this honour. Not only did he assist with the organisation of the British section at the 1900 Exposition Universelle in Paris, he also exhibited two works that earned him the Grand Prix Diploma. He also assisted with the St. Louis World's Fair of 1904 where he was well represented and received. During this time, Alma-Tadema was very active with theatre design and production, designing many costumes. He also spread his artistic boundaries and began to design furniture, often modelled after Pompeian or Egyptian motifs, illustrations, textiles, and frame making. In late 1902 he visited Egypt. These other interests influenced his paintings, as he often incorporated some of his furniture designs into the composition, and he also used many of his own designs for the clothing of his female subjects. Through his last period of creativity Alma-Tadema continued to produce paintings which repeated the successful formula of women on marble terraces overlooking the sea such as in Silver Favourites (1903). Between 1903 and his death, Alma-Tadema painted less but still produced ambitious paintings such as The Finding of Moses (1904). On 15 August 1909 Alma-Tadema's wife, Laura, died at the age of fifty-seven. The grief-stricken widower outlived his second wife by less than three years. His last major composition was Preparation in the Coliseum (1912). In the summer of 1912, Alma-Tadema was accompanied by his daughter Anna to Kaiserhof Spa, Wiesbaden, Germany, where he was to undergo treatment for ulceration of the stomach. He died there on 28 June 1912 at the age of seventy-six. He was buried in the crypt of St Paul's Cathedral in London. Style Alma-Tadema's works are remarkable for the way in which flowers, textures and hard reflecting substances, like metals, pottery, and especially marble, are painted – indeed, his realistic depiction of marble led him to be called the 'marbellous painter'. His work shows much of the fine execution and brilliant colour of the old Dutch masters. From early in his career, Alma-Tadema was particularly concerned with architectural accuracy, often including objects that he saw at museums – such as the British Museum in London – in his works. He also read many books and took many images from them. He amassed an enormous number of photographs from ancient sites in Italy, which he used to achieve the most precise accuracy in the detail of his compositions. Alma-Tadema was a perfectionist. He worked assiduously to make the most of his paintings, often repeatedly reworking parts of paintings before he found them satisfactory to his own high standards. One story relates that one of his paintings was rejected and instead of keeping it, he gave the canvas to a maid who used it as her table cover. He was sensitive to every detail and architectural line of his paintings, as well as the settings he was depicting. For many of the objects in his paintings, he would depict what was in front of him, using fresh flowers imported from across the continent and even from Africa, rushing to finish the paintings before the flowers died. It was this commitment to veracity that earned him recognition but also caused many of his critics to adopt negative attitudes towards his almost encyclopaedic works. Alma-Tadema's work has been linked with that of European Symbolist painters. As an artist of international reputation, he can be cited as an influence on European figures such as Gustav Klimt and Fernand Khnopff. Both painters incorporate classical motifs into their works and use Alma-Tadema's unconventional compositional devices such as abrupt cut-off at the edge of the canvas. They, like Alma-Tadema, also employ coded imagery to convey meaning in their paintings. Reputation Alma-Tadema was considered one of the most popular Victorian painters. He was among the most financially successful painters of the Victorian era, though never matching Edwin Henry Landseer. For over sixty years he gave his audience exactly what they wanted: distinctive, elaborate paintings of beautiful people in classical settings. His detailed reconstructions of ancient Rome, with languid men and women posed against white marble in dazzling sunlight provided his audience with a glimpse of a world of the kind they might one day construct for themselves at least in theory if not in reality. As with other painters, the reproduction rights for prints were often worth more than the canvas, and a painting with its rights still attached may have been sold to Gambart for £10,000 in 1874; without rights it was sold again in 1903, when Alma-Tadema's prices were actually higher, for £2,625. Typical prices were between £2,000 and £3,000 in the 1880s, but at least three works sold for between £5,250 and £6,060 in the 1900s. Prices held well until the general collapse of Victorian prices in the early 1920s, when they fell to the hundreds, where they remained until the 1960s; by 1969 £4,600 had been reached again (although the effect of inflation must be allowed for with these figures). The last years of Alma-Tadema's life saw the rise of Post-Impressionism, Fauvism, Cubism and Futurism, all of which he disapproved of. As his pupil John Collier wrote, 'it is impossible to reconcile the art of Alma-Tadema with that of Matisse, Gauguin and Picasso.' His artistic legacy almost vanished. As attitudes of the public in general and the artists in particular became more sceptical of the possibilities of human achievement, his paintings were increasingly denounced. He had been declared "the worst painter of the 19th century" by John Ruskin, and one critic even remarked that his paintings were "about worthy enough to adorn bourbon boxes". After this brief period of being actively derided, he was consigned to relative obscurity for many years. Only since the 1960s has Alma-Tadema's work been re-evaluated for its importance within the nineteenth century, and more specifically, within the evolution of English art. He is now regarded as one of the principal classical-subject painters of the nineteenth century whose works demonstrate the care and exactitude of an era mesmerised by trying to visualise the past, some of which was being recovered through archaeological research. Alma-Tadema's meticulous archaeological research, including research into Roman architecture, led to his paintings being used as source material by Hollywood directors in their vision of the ancient world for films such as D. W. Griffith's Intolerance (1916), Ben Hur (1926), Cleopatra (1934), and most notably of all, Cecil B. DeMille's epic remake of The Ten Commandments (1956). Indeed, Jesse Lasky Jr., the co-writer on The Ten Commandments, described how the director would customarily spread out prints of Alma-Tadema paintings to indicate to his set designers the look he wanted to achieve. The designers of the Oscar-winning Roman epic Gladiator used the paintings of Alma-Tadema as a central source of inspiration. Alma-Tadema's paintings were also the inspiration for the design of the interior of Cair Paravel castle in the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. In 1962, New York art dealer Robert Isaacson mounted the first show of Alma-Tadema's work in fifty years; by the late 1960s, the revival of interest in Victorian painting gained impetus, and a number of well-attended exhibitions were held. Allen Funt, the creator and host of the American version of the television show Candid Camera, was a collector of Alma-Tadema paintings at a time when the artist's reputation in the 20th century was at its nadir; in a relatively few years he bought 35 works, about ten percent of Alma-Tadema's output. After Funt was robbed by his accountant (who subsequently committed suicide), he was forced to sell his collection at Sotheby's in London in November 1973. From this sale, the interest in Alma-Tadema was re-awakened. In 1960, the Newman Gallery firstly tried to sell, then give away (without success) one of his most celebrated works, The Finding of Moses (1904). The initial purchaser had paid £5,250 for it on its completion, and subsequent sales were for £861 in 1935, £265 in 1942, and it was "bought in" at £252 in 1960 (having failed to meet its reserve), but when the same picture was auctioned at Christies in New York in May 1995, it sold for £1.75 million. On 4 November 2010 it was sold for $35,922,500 to an undisclosed bidder at Sotheby's New York, a new record both for an Alma-Tadema work and for a Victorian painting. On 5 May 2011, The Meeting of Antony and Cleopatra: 41 BC was sold at the same auction house for $29.2 million. Alma-Tadema's The Tepidarium (1881) is included in the 2006 book 1001 Paintings You Must See Before You Die. Julian Treuherz, Keeper of Art Galleries at National Museums Liverpool, describes it as an "exquisitely painted picture..." which "carries a strong erotic charge, rare for a Victorian painting of the nude". A blue plaque unveiled in 1975 commemorates Alma-Tadema at 44 Grove End Road, St John's Wood, his home from 1886 until his death in 1912. Archives The Cadbury Research Library at the University of Birmingham holds several archive collections relating to Alma-Tadema, including letters, artwork and photography. Gallery References and sources Notes References Sources Ash, Russell: Alma-Tadema, Shire Publications, Aylesbury, 1973, Ash, Russell: Sir Lawrence Alma-Tadema, Pavilion Books, London, 1989, ; Harry N. Abrams Inc. New York, 1990, Barrow, Rosemary: Lawrence Alma-Tadema, Phaidon Press Inc, 2001, Calinski, Tobias: Catull in Bild und Ton - Untersuchungen zur Catull-Rezeption in Malerei und Komposition, WBG, Darmstadt 2021 Reitlinger, Gerald; The Economics of Taste, Vol I: The Rise and Fall of Picture Prices 1760–1960, Barrie and Rockliffe, London, 1961 Swanson, Vern G : Alma-Tadema: The Painter of the Victorian Vision of the Ancient World, Ash & Grant, London, 1977, ; Charles Scribner's Sons, New York, 1977, Swinglehurst, Edmund: Lawrence Alma-Tadema, Thunder Bay Press, Canada, 2001, (NOTE: the illustration of The Roses of Heliogabalus in this book is printed the wrong way round!) External links Alma-Tadema at The Athenaeum (more than 380 works) Global Gallery Bio & Works 218 works by Sir Lawrence Alma-Tadema at alma-tadema.org Lourens Alma Tadema artworks (paintings, watercolours, drawings), biography, information and signatures Painting Locations at ArtCyclopedia Works by Sir Lawrence Alma-Tadema in the collection of the Walters Art Museum Alma-Tadema at MuseumSyndicate Alma-Tadema in "History of Art" Alma-Tadema Listening to Homer (1885). A video discussion about the painting from Smarthistory at Khan Academy 1836 births 1912 deaths 19th-century British painters 19th-century Dutch painters 20th-century British painters Academic art British male painters British people of Frisian descent British printmakers Dutch printmakers Dutch male painters Frisian painters Knights Bachelor Members of the Order of Merit Recipients of the Pour le Mérite (civil class) Mythological painters Neo-Pompeian painters Orientalist painters People of the Victorian era People from Menaldumadeel Recipients of the Royal Gold Medal Royal Academy of Fine Arts (Antwerp) alumni Royal Academicians Burials at St Paul's Cathedral	false	[ "Mikhail Roginsky (; 14 August 1931 – 5 July 2004) was a Russian painter. Roginsky was one of the leaders of Soviet Nonconformist Art and the creator of the modern national visual method, with its laconic means and inner expressiveness.\n\nBiography \nIn 1978, Roginsky moved to Paris. One year before his emigration he had gone back to documentary art and did a series of five or six works with cans. \"I felt (he explained) that I had to go back to what I had begun with, to return to myself\". He left Russia shortly after he had finished that series. Roginsky answer to the question whether the West had any influence on him, was brief: \"Sure\". But he could not say exactly what. \"Everything, (he believes) a different life, a different atmosphere, a different reality. I am generally very much influenced by where I live, what I see around me, what kind of art I behold and the type of people I rub shoulders with'\".\n\nHe died on 5 July 2004 in Paris.\n\nReferences\n\nExternal links \nRussia Info-Centre: Photograph and samples of his work\n\n20th-century Russian painters\nRussian male painters\n21st-century Russian painters\n1931 births\n2004 deaths", "Johannes Hendricus Jurres (18751946) was a Dutch painter who was compared to Rembrandt, Velazquez and Rubens during his lifetime. He was one of the most influential painters of the interwar period.\n\nJurres was born into a Catholic family and was inspired by Catholic art, particularly Neuville and Doré, and military drills from a young age. At age 15 he went to Amsterdam to get a higher education in the arts. Here he became a big fan of the stories of Cervantes, Diego Hurtado, Mendoza, and Alain-René, which would inspire him to travel in later years.\n\nHe first met with success when a series of illustrations of Cervantes' Don Quixote was published in an edition of that work. During this time he became acquainted with the works of Rembrandt, Rubens and Velazquez, who would particularly influence his style; eventually Jurres' skill and style earned him a place alongside those painters in the eyes of his contemporaries. In 1921 Jurres becomes a professor at the Rijksakedemie.\n\nHis work was included in the 1939 exhibition and sale Onze Kunst van Heden (Our Art of Today) at the Rijksmuseum in Amsterdam. Jurres' work is on display in the Rijksmuseum, Fries Museum, Dordrechts Museum and Singer in Laren.\n\nReferences \n\n1875 births\n1946 deaths\nDutch painters" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background" ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	What was his background	1	What was Sgt. Pepper's Lonely Hearts Club Band background	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	CANNOTANSWER	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	false	[ "\"What a Friend\" is a song performed by Canadian contemporary Christian music (CCM) artist Matt Maher. The song was released as the second single from his 2017 album Echoes on September 15, 2017. The song peaked at No. 10 on the US Hot Christian Songs chart, becoming his seventh Top 10 single from that chart. It lasted 26 weeks on the overall chart. The song is played in an E major key, and 110 beats per minute.\n\nBackground\n\"What a Friend\" was released on September 15, 2017, as the second single from his fifth studio album Echoes. The song samples the Christian hymn What a Friend We Have in Jesus by Joseph M. Scriven, who wrote it in 1855 to comfort his mother in Iceland while he was living in Canada. Maher shows God’s faithfulness even in the midst of personal sorrow and devastation. On the song, Maher sings about the joy of our friendship with the Saviour. Aleteia described the song as \"switching gears from quiet worship to bouncing folk-rock, with a country-pop hook, where the piece is infused with a jubilant energy, which is aided by a perfectly employed gospel-ish choir.\"\n\nMusic video\nA lyric video was released on February 23, 2018. A live version of the song was released on June 15, 2018, featuring Christian music singer Jason Crabb.\n\nTrack listing\nCD release\n\"What a Friend\" – 3:17\n\"What a Friend (Lead Sheet (Medium Key)\" – 3:17\n\"What a Friend (Vocal Demonstration)\" – 3:4\n\"What a Friend (High Key With Background Vocals)\" – 3:14\n\"What a Friend (High Key Without Background Vocals)\" – 3:14\n\"What a Friend (Medium Key With Background Vocals)\" – 3:14\n\"What a Friend (Medium Key Without Background Vocals)\" – 3:14\n\"What a Friend (Low Key With Background Vocals)\" – 3:14\n\"What a Friend (Low Key Without Background Vocals)\" – 3:14\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n2017 songs\n2017 singles\nEssential Records (Christian) singles\nSongs written by Matt Maher", "\"No Matter What\" is a song performed by American Christian musician Ryan Stevenson.The song was released as the third single from his 2018 album No Matter What on January 26, 2018. It features guest vocals from MercyMe frontman Bart Millard. It was released to Christian radio on March 2, 2018. The song peaked at No. 8 on the US Hot Christian Songs chart, becoming his third Top 10 single from that chart. It lasted 26 weeks on the overall chart. The song is played in an A major key, and 79 beats per minute.\n\nBackground\n\"No Matter What\" was released as the third single from his second studio album No Matter What, on January 26, 2018. It is the follow-up to Christian radio hit \"The Gospel.\" Stevenson explained his inspiration for writing the song in an interview,\"Over the course of the last several years, I've continued to ask the Lord to give me songs that exist for a reason,\" shares Ryan Stevenson about his new single. \"As we were working on this new record, a reoccurring theme I felt the Lord continually whisper to my heart was 'beloved identity.' I, like many of us, grew up in the church- a religious environment, where we weren't necessarily nurtured and taught about Gods grace, patience and compassion. As I continue to grow and experience life, the truth I continue to encounter is 'I am His son, no matter what.' It is easy to fall into the trap of performance based relationship with God when we've been taught in religious environments that He's mostly disappointed with us. This song hopefully will encourage all of us that even though we struggle, Jesus is overseeing the process.\"\n\nMusic video\nA music video for the single \"No Matter What\" was released on July 27, 2018. The visual features Stevenson performing the track in a dark room\n\nTrack listing\nCD release\n\"No Matter What\" – 3:36\n\"No Matter What (Lead Sheet (Medium Key)\" – 3:36\n\"No Matter What (Vocal Demonstration)\" – 3:27\n\"No Matter What (High Key With Background Vocals)\" – 3:27\n\"No Matter What (High Key Without Background Vocals)\" – 3:27\n\"No Matter What (Medium Key With Background Vocals)\" – 3:27\n\"No Matter What (Medium Key Without Background Vocals)\" – 3:27\n\"No Matter What (Low Key With Background Vocals)\" – 3:27\n\"No Matter What (Low Key Without Background Vocals)\" – 3:27\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\n2018 songs\n2018 singles" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know." ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	Are there any other interesting aspects about this article?	2	Besides Sgt. Pepper's Lonely Hearts Club Band are there any other interesting aspects about this article?	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	By 1966, the Beatles had grown weary of live performance.	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	false	[ "Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region", "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" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance." ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	Who were the performers	3	Who were the Sgt. Pepper's Lonely Hearts Club Band performers	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	George Harrison	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	true	[ "Trust Us with Your Life is an American improvisational comedy television series, based on the BBC Two program Fast and Loose. It premiered on ABC on July 10, 2012. It was hosted by Fred Willard and starred comedians Wayne Brady, Colin Mochrie, and Jonathan Mangum, with rotating performers which included Greg Proops, Craig Cackowski, Brad Sherwood, Nicole Parker, and Josie Lawrence. The performers would act out scenes in the lives of guest celebrities. Serena Williams, Ricky Gervais, Jerry Springer, Florence Henderson, Mark Cuban, Jack and Kelly Osbourne, David Hasselhoff and Jane Seymour appeared. Eight episodes were filmed in London, England.\n\nGames\nDramatic Episode - The performers act out a scene using information from the guest. The guest rings a bell every time the performers get something right and honk a horn when they get something wrong. Similar to \"First Date\" from Improv-a-Ganza.\nFace the Music - David Armand illustrates through mime a popular song with significance to the guest star (who wears a set of headphones so they can't hear the song). After Armand's performance, the guest must figure out what the song is. Played as \"Interpretative Dance\" on Fast and Loose.\nForward/Rewind - The performers act out a scene using information from the guest and they must rewind and go forward when prompted by a pre-recorded voice. Originally appeared in BBC's Fast and Loose also featured in the American version of Who's Line is it Anyway .\nGlee Club It! - A scene is acted out and when a pre-taped voice saying \"Glee Club It!\" is played, the performers must start singing until the voice says \"back to normal\".\nGuess the Location - A scene is acted out on a road trip. The first two performers act out the scene while the other two act as residents of the different locations. The others must then try to guess where they are. Only played on the Jane Seymour episode.\nMessages From Random Acquaintances - The performers provide rapid-fire messages to the guest as if they were friends and acquaintances of the guest and alternate when Fred buzzes. This game is usually done during the credits.\nMusical Tribute - With the help of keyboardist Cat Gray (who works with Wayne and Jonathan on Let's Make a Deal), the performers sing a song about the guest's life in a style suggested by Fred. Similar to \"Song for a Lady\" from Improv-a-Ganza.\nPutting Words into Your Mouth - The guest takes the stage with one or two of the comedians, another of the comedians will talk for the guest while the scene continues. Similar to \"Dubbing\" from Whose Line?.\nRap It! - The performers act out a scene and start rapping when the voice says \"Rap It!\" and go back to normal when they hear a voice saying \"Word!\". Similar to \"Kick It!\" from Improv-a-Ganza.\nShorter and Shorter - The performers have sixty seconds to perform a scene, then they have to do the same scene again in a thirty-second version, and then fifteen seconds, and so on.\nSideways Scene - Three of the performers use information from the guest to act out a scene lying down on a special mat behind the set with a camera positioned above them. Fred would randomly buzz in with styles for them to act it out in. This sketch is usually done when the celebrity's story involves sports. This game was later played in the 2013 revival of Whose Line?\nStyles - The performers act out a scene using information given by the guest. When Fred presses a button to sound a buzzer, he has the performers restart the scene in a different style. Similar to \"Film, TV and Theatre Styles\" from Whose Line? and \"Options\" from Improv-a-Ganza.\n\nEpisodes\n\nBroadcast history\nEpisodes 7 and 8 were originally scheduled to air July 31 and August 7, 2012, respectively. Even though the show was put on hiatus on July 30, these episodes were put on video streaming sites and were available to purchase the day after their originally-scheduled airdates.\n\nReferences\n\nExternal links\n \n\n2010s American comedy game shows\n2010s American sketch comedy television series\n2012 American television series debuts\n2012 American television series endings\nAmerican Broadcasting Company original programming\nEnglish-language television shows\nAmerican television series based on British television series\nImprovisational television series", "The Women's National Basketball Association Peak Performer Awards are given each year to players who lead the WNBA in scoring, rebounding, and assists. The award has been given since the league's inaugural season, but the honor has varied since then.\n\nPeak Performers \n\nIn 1997, the Peak Performers Awards went to the \"shooting champions\" from each conference.\nFrom 1998 until 2002, the Peak Performers Awards went to players who had the best field goal and free throw percentage.\nIn 2007, since Lauren Jackson was the league leader in scoring and rebounds, the WNBA awarded Becky Hammon for leading the league in assists.\nIn 2007, the WNBA added the league leader in assists per game to the Peak Performers award.\n\nSee also\n\n List of sports awards honoring women\n\nExternal links \n (1997-2012)\n\nReferences \n\nAwards established in 1997\nPeak" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison" ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	When was it created	4	When was Sgt. Pepper's Lonely Hearts Club Band created	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	In June that year, two days after finishing the album Revolver,	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	false	[ "Baron Hervey is an aristocratic title that has been created three times, once in the Peerage of Ireland and twice in the Peerage of England. \n\nThe first creation was in the Peerage of Ireland in 1620, when Sir William Hervey, 1st Baronet, was made Baron Hervey, of Rosse in County Wexford. He had been created Baronet of St. Martin's in the Fields on 31 May 1619. \n\nThe second creation was in 1628, when the same William Hervey was also made Baron Hervey, of Kidbrooke, Kent, in the Peerage of England. When William Hervey died in 1642, both titles became extinct.\n\nThe third creation came in 1703 in the Peerage of England, when John Hervey was made Baron Hervey, of Ickworth, Suffolk. John Hervey was a second cousin thrice removed of William Hervey and was later created Earl of Bristol.\n\nBaron Hervey (1620, 1628)\nWilliam Hervey, 1st Baron Hervey (died 1642)\n\nBarons Hervey (1703)\nSee Marquess of Bristol\n\nReferences\n\nExtinct baronies in the Peerage of Ireland\nExtinct baronies in the Peerage of England\nBaronies in the Peerage of England\n1620 establishments in Ireland\n1628 establishments in England\n1703 establishments in England\n1642 disestablishments in Ireland\n1642 disestablishments in England\nNoble titles created in 1620\nNoble titles created in 1628\nNoble titles created in 1703", "When the Spanish Air Force was created in 1940, an anthem was created, but was changed in 1967 to what is currently sung today. It was created by José María Pemán and Ricardo Dorado and was chosen among 198 other works presented to a competition call by the Spanish Air Ministry.\n\nSee also \nSpanish Air Force\n\nExternal links \nSpanish Air Force Anthem (Unofficial site)\nMP3 file\n\n1967 compositions\nSpanish military marches\nSpanish Air Force\nSongs about aviation" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison", "When was it created", "In June that year, two days after finishing the album Revolver," ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	What else was they known for	5	What else was Sgt. Pepper's Lonely Hearts Club Band known for other than the album Revolver	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger".	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	false	[ "Fredrick Else (31 March 193320 July 2015) was an English footballer, who played as a goalkeeper. Else gained over 600 professional appearances in his career playing for three clubs, Preston North End, Blackburn Rovers and Barrow.\n\nClub career\nElse was born in Golborne near Wigan on 31 March 1933. Whilst on national service in the north-east he played for amateur club Axwell Park Colliery Welfare in the Derwent Valley League. He attracted the attention of Football League teams and signed as a junior for Preston North End in 1951, and as a professional in 1953. He made his debut for Preston against Manchester City in 1954, but was restricted to 14 appearances over his first three seasons. He eventually became first choice, displacing George Thompson, and played 238 times for North End. During this time Preston's most successful season came in 1957–58, when the club finished as runners up in Division One.\n\nThe 1960–61 season ended in relegation for Preston and Else was sold to neighbours Blackburn Rovers for £20,000. Else became a first choice for Blackburn straight away and played 221 times for the club. A collarbone injury in 1964–65 resulted in a period out of the game, though Else returned to regain the goalkeeper's jersey at Blackburn. Nonetheless the team were relegated the following season and Else was released. During the summer of 1966 Else signed with Barrow of the Fourth Division. Else became part of Barrow's most successful team, with the side winning promotion to the Third Division in his first season there. Else was Barrow's first choice keeper for the entire period that they were in the third division, and played 148 league matches for the club. He retired from football after Barrow's relegation in 1970 following a leg infection. His final season included a brief stint as caretaker manager at Barrow.\n\nHonours\n Football League Division One Runner-up 1957–1958\n Football League Division Four Promotion 1966–1967\n\nInternational career\nElse has been described by fans of the clubs that he played for as one of the best English goalkeepers never to win a full international cap. He did, however, make one appearance for the England B team in 1957 against Scotland B, as well as participating in a Football Association touring side of 1961.\n\nPersonal life and death\nElse met his wife Marjorie in 1949 in Douglas on the Isle of Man. They married when Else was 22 and Marjorie 20, on 29 October 1955, a Saturday morning. The wedding was held in Marjorie's home town of Blackpool and the date was chosen so that the couple could marry in the morning and Else could then travel either to Deepdale, to play for Preston North End's reserve team, or to Bloomfield Road where Preston's first team was due to be playing Blackpool F.C. In the event Else was selected for the reserves and the couple had to travel by bus to Preston.\n\nAfter retiring from football, Else remained in Barrow-in-Furness, becoming a geography and maths teacher at a local secondary school. He retired from teaching in 1999 and moved to Cyprus, though still attended some Barrow matches. Else died in Barrow-in-Furness on 20 July 2015, aged 82.\n\nReferences\n\n2015 deaths\n1933 births\nBarrow A.F.C. managers\nBarrow A.F.C. players\nBlackburn Rovers F.C. players\nPreston North End F.C. players\nPeople from Golborne\nEnglish footballers\nAssociation football goalkeepers\nSchoolteachers from Cumbria\nEnglish Football League players\nEngland B international footballers\nEnglish football managers", "\"Someone Else's Eyes\" is a 2009 song by French singer Amanda Lear and Italian singer Deadstar. It was released by the independent label Just Good Music for Your Ears as the lead single from Lear's album Brief Encounters.\n\nSong information \n\"Someone Else's Eyes\" is a vocal duet between Lear and Enrico Petrelli, better known under his stage name Deadstar, who has also written and produced the track. It is a mid-tempo pop song with jazz elements, arranged by Nerio Poggi, including a saxophone solo by Fabio Tullio. The lyrics of the song, also written by Deadstar, tell about a relationship breakup.\n\nAmanda Lear and Deadstar met in summer 2008 – their first meeting took place in a café in the 16th arrondissement of Paris where they both live. They started recording the song in November that year in Rome and Paris. The track was then previewed at Midem in 2009 to positive reaction and subsequently chosen as the lead single from Lear's album Brief Encounters. It was released through Deadstar's own independent label Just Good Music for Your Ears, also including the ballad \"Secret Lover\". A limited edition of the single was released with copies of one of Amanda's sketches that she did during recording sessions. The song was then remixed by Boy George and Kinky Roland, and released as a maxi single on 24 May 2010 to promote the reissue Brief Encounters Reloaded. A remix of \"Doin' Fine\" was included as a bonus track.\n\nMusic video \nThe official music video for the track was filmed in April 2009 in Rome, Italy by Fabio Tibaldi at Studio 154. It pictures Amanda Lear and Deadstar performing the song in front of a white background. A video for the Boy George/Kinky Roland remix was also made in 2010.\n\nTrack listing \nCD Single (2009)\n \"Someone Else's Eyes\" – 4:08\n \"Secret Lover\" – 2:03\nvideo: \"Someone Else's Eyes\" – 4:08\n\nCD Promo Single (2009)\n \"Someone Else's Eyes\" (Radio Edit) – 2:54\n \"Someone Else's Eyes\" (All Eyes on the Dance Floor Remix Radio Edit) – 3:31\n\nCD Maxi Single (2010)\n \"Someone Else's Eyes\" (Boy George & Kinky Roland Mix) – 5:50\n \"Someone Else's Eyes\" (All Eyes on the Dance Floor Mix) – 6:45\n \"Someone Else's Eyes\" (Visionary Mix) – 4:05\n \"Someone Else's Eyes\" (Fully Loaded NRG Mix) – 7:33\n \"Doin' Fine\" (Devil's Desire Radio Mix) – 3:36\n\nReferences \n\nSongs about eyes\n2009 singles\n2009 songs\nAmanda Lear songs\nVocal duets" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison", "When was it created", "In June that year, two days after finishing the album Revolver,", "What else was they known for", "While in Hamburg they received an anonymous telegram stating: \"Do not go to Tokyo. Your life is in danger\"." ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	What happen after that	6	What happen after Sgt. Pepper's Lonely Hearts Club Band received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger"	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	The threat was taken seriously	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	true	[ "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", "What Did You Think Was Going to Happen? is the debut studio album from Los Angeles band 2AM Club. It was released September 14, 2010 by RCA Records.\n\nCritical reception\n\nMatt Collar of AllMusic stated that with this album \"2AM Club reveal themselves as the best and brightest of the nu-eyed-soul set\".\n\nTrack listing\n\nOn May 31, the band released a song named \"Baseline\" that was a bonus track on What Did You Think Was Going to Happen? (sold on iTunes). It was advertised by them via Twitter, and was available for free download through a file sharing website, Hulk Share.\n\nCharts\n\nReferences\n\n2010 albums\nPop rock albums by American artists" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison", "When was it created", "In June that year, two days after finishing the album Revolver,", "What else was they known for", "While in Hamburg they received an anonymous telegram stating: \"Do not go to Tokyo. Your life is in danger\".", "What happen after that", "The threat was taken seriously" ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	What did they do about it	7	What did Sgt. Pepper's Lonely Hearts Club Band do about threat	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	35,000 police were mobilised and tasked with protecting the group,	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	true	[ "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", "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" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison", "When was it created", "In June that year, two days after finishing the album Revolver,", "What else was they known for", "While in Hamburg they received an anonymous telegram stating: \"Do not go to Tokyo. Your life is in danger\".", "What happen after that", "The threat was taken seriously", "What did they do about it", "35,000 police were mobilised and tasked with protecting the group," ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	Did anybody get hurt	8	Did Sgt.Pepper's Lonely Hearts Club Band get hurt	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	The	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	true	[ "Get Hurt may refer to:\n\n Get Hurt (album), by the Gaslight Anthem (2014)\n Get Hurt (EP), by No Age (2007)\n \"Get Hurt\", a song by AFI from AFI (2017)", "Black Glitter is the second studio album by Suffrajett. It was released on January 1, 2007 on Cobra Music Records.\n\nTrack listing\n\"Down And Out\"\n\"Like You Better\"\n\"Closer\"\n\"Hurt Your Head\"\n\"Jesus, Driving High\"\n\"Mr. Man\"\n\"Shake Your Heart\"\n\"So Tired\"\n\"Tricky Love\" \n\"Anybody Listening\"\n\"Getcha' Good\"\n\n2007 albums\nSuffrajett albums" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison", "When was it created", "In June that year, two days after finishing the album Revolver,", "What else was they known for", "While in Hamburg they received an anonymous telegram stating: \"Do not go to Tokyo. Your life is in danger\".", "What happen after that", "The threat was taken seriously", "What did they do about it", "35,000 police were mobilised and tasked with protecting the group,", "Did anybody get hurt", "The" ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	What else stood out to you	9	What else stood out to you in addition to Sgt. Pepper's Lonely Hearts Club Band received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger"	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	the absence of screaming fans allowed them to hear how poor their live performances had become.	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	false	[ "Reach Out is an album recorded by the Four Tops, issued on Motown Records in July 1967. It was the final Four Tops LP to be produced by Motown's main songwriting and production team, Holland–Dozier–Holland, who departed the label in late 1967 over money disputes.\n\nThe group's most successful studio LP, Reach Out includes six of the Four Tops' Top 20 singles: the #1 hit \"Reach Out I'll Be There\", the Top 10 singles \"Standing in the Shadows of Love\", \"Bernadette\", the Top 20 \"7-Rooms of Gloom\", and their Top 20 covers of Tim Hardin's \"If I Were a Carpenter\" and the Left Banke's \"Walk Away Renée\", both of which reached the UK Top 10.\n\nRounding out the LP are a pair of Monkees covers (\"Last Train to Clarksville\" and \"I'm a Believer\"), a cover of The Association's \"Cherish\", and the originals \"Wonderful Baby\" and \"What Else Is There to Do (But Think About You)\". Reach Out was followed one month later by a Four Tops' Greatest Hits album, which contained all of the group's hit singles to that point.\n\nTrack listing\nAll tracks produced by Brian Holland and Lamont Dozier, except for \"Wonderful Baby\", produced by Smokey Robinson; and \"What Else is There to Do (But Think About You)\", produced by Clarence Paul.\n\n\"Reach Out I'll Be There\" (Holland–Dozier–Holland)\n\"Walk Away Renée\" (Michael Brown, Bob Calilli, Tony Sansone)\n\"7-Rooms of Gloom\" (Holland-Dozier-Holland)\n\"If I Were a Carpenter\" (Tim Hardin)\n\"Last Train to Clarksville\" (Tommy Boyce, Bobby Hart)\n\"I'll Turn to Stone\" (Holland-Dozier-Holland, R. Dean Taylor)\n\"I'm a Believer\" (Neil Diamond)\n\"Standing in the Shadows of Love\" (Holland-Dozier-Holland)\n\"Bernadette\" (Holland-Dozier-Holland)\n\"Cherish\" (Terry Kirkman)\n\"Wonderful Baby\" (Smokey Robinson)\n\"What Else Is There to Do (But Think About You)\" (Stevie Wonder, Clarence Paul, Morris Broadnax)\n\nPersonnel\nLevi Stubbs - lead vocals\nAbdul \"Duke\" Fakir, Renaldo \"Obie\" Benson, Lawrence Payton, The Andantes - backing vocals\nThe Funk Brothers - instrumentation\nJames Meese - cover artwork\n\nLegacy\nBoth \"Reach Out I'll Be There\" and \"Standing in the Shadows of Love\" were recorded for inclusion on the album Diana Ross Presents The Jackson 5, with \"Reach Out\" being released on the box set Soulsation!\n\nCritical Reception/Accolades\nReach Out was ranked number 429 in Rolling Stone magazine's 2020 edition of \"The 500 Greatest Albums of All Time\" list.\n\nReferences\n\n1967 albums\nFour Tops albums\nAlbums produced by Smokey Robinson\nAlbums produced by Clarence Paul\nAlbums produced by Brian Holland\nAlbums produced by Lamont Dozier\nAlbums recorded at Hitsville U.S.A.\nMotown albums", "Send You is the first studio album by Sneaky Feelings. It was released in 1983 via Flying Nun Records.\n\nProduction\nThe album was recorded in four days, in a minimalist fashion.\n\nCritical reception\nAllMusic wrote that the album \"makes a strong case that Sneaky Feelings were among the best pop bands of the '80s, no matter what part of the world they came from or what label released their records.\" PopMatters wrote that \"the deft songwriting of Send You is not entirely showcased considering the label’s limited recording resources at the time, so most of the multi-tracked harmonies on display ... are unfortunately obscured.\" Perfect Sound Forever wrote that Send You \"remains a gem, with songs like 'Throwing Stones' and 'Someone Else's Eyes' crystallizing the (often oversimplified) notion of a 'Dunedin Sound,' an identifiable jangle that hearkened back to the great guitar pop of the '60's.\"\n\nTrack listing\nSide A\nWaiting For Touchdown\nThrowing Stones\nStrangers Again\nSomeone Else's Eyes\n\nSide B\nNot To Take Sides\nP.I.T. Song\nWon't Change\nEverything I Want\n\nBonus tracks on 1992 CD version\nNot To Take Sides (Reprise) \nReady Or Not \nCry You Out Of My Eyes \nMaybe You Need To Come Back\n\nPersonnel\nKat Tyrie - bass guitar, organ\nMartin Durrant - drums, vocals, synthesizer\nMatthew Bannister - guitar, vocals, organ\nDavid Pine - guitar, vocals, vibraphone\nAndrew Hubbard - percussion\n\nReferences\n\n1983 debut albums\nFlying Nun Records albums\nSneaky Feelings albums" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison", "When was it created", "In June that year, two days after finishing the album Revolver,", "What else was they known for", "While in Hamburg they received an anonymous telegram stating: \"Do not go to Tokyo. Your life is in danger\".", "What happen after that", "The threat was taken seriously", "What did they do about it", "35,000 police were mobilised and tasked with protecting the group,", "Did anybody get hurt", "The", "What else stood out to you", "the absence of screaming fans allowed them to hear how poor their live performances had become." ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	What else was they recognized for	10	What else was Sgt. Pepper's Lonely Hearts Club Band recognized for other than album Revolver	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	CANNOTANSWER	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	false	[ "Fredrick Else (31 March 193320 July 2015) was an English footballer, who played as a goalkeeper. Else gained over 600 professional appearances in his career playing for three clubs, Preston North End, Blackburn Rovers and Barrow.\n\nClub career\nElse was born in Golborne near Wigan on 31 March 1933. Whilst on national service in the north-east he played for amateur club Axwell Park Colliery Welfare in the Derwent Valley League. He attracted the attention of Football League teams and signed as a junior for Preston North End in 1951, and as a professional in 1953. He made his debut for Preston against Manchester City in 1954, but was restricted to 14 appearances over his first three seasons. He eventually became first choice, displacing George Thompson, and played 238 times for North End. During this time Preston's most successful season came in 1957–58, when the club finished as runners up in Division One.\n\nThe 1960–61 season ended in relegation for Preston and Else was sold to neighbours Blackburn Rovers for £20,000. Else became a first choice for Blackburn straight away and played 221 times for the club. A collarbone injury in 1964–65 resulted in a period out of the game, though Else returned to regain the goalkeeper's jersey at Blackburn. Nonetheless the team were relegated the following season and Else was released. During the summer of 1966 Else signed with Barrow of the Fourth Division. Else became part of Barrow's most successful team, with the side winning promotion to the Third Division in his first season there. Else was Barrow's first choice keeper for the entire period that they were in the third division, and played 148 league matches for the club. He retired from football after Barrow's relegation in 1970 following a leg infection. His final season included a brief stint as caretaker manager at Barrow.\n\nHonours\n Football League Division One Runner-up 1957–1958\n Football League Division Four Promotion 1966–1967\n\nInternational career\nElse has been described by fans of the clubs that he played for as one of the best English goalkeepers never to win a full international cap. He did, however, make one appearance for the England B team in 1957 against Scotland B, as well as participating in a Football Association touring side of 1961.\n\nPersonal life and death\nElse met his wife Marjorie in 1949 in Douglas on the Isle of Man. They married when Else was 22 and Marjorie 20, on 29 October 1955, a Saturday morning. The wedding was held in Marjorie's home town of Blackpool and the date was chosen so that the couple could marry in the morning and Else could then travel either to Deepdale, to play for Preston North End's reserve team, or to Bloomfield Road where Preston's first team was due to be playing Blackpool F.C. In the event Else was selected for the reserves and the couple had to travel by bus to Preston.\n\nAfter retiring from football, Else remained in Barrow-in-Furness, becoming a geography and maths teacher at a local secondary school. He retired from teaching in 1999 and moved to Cyprus, though still attended some Barrow matches. Else died in Barrow-in-Furness on 20 July 2015, aged 82.\n\nReferences\n\n2015 deaths\n1933 births\nBarrow A.F.C. managers\nBarrow A.F.C. players\nBlackburn Rovers F.C. players\nPreston North End F.C. players\nPeople from Golborne\nEnglish footballers\nAssociation football goalkeepers\nSchoolteachers from Cumbria\nEnglish Football League players\nEngland B international footballers\nEnglish football managers", "\"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" ]
[ "Sgt. Pepper's Lonely Hearts Club Band", "Background", "What was his background", "I don't know.", "Are there any other interesting aspects about this article?", "By 1966, the Beatles had grown weary of live performance.", "Who were the performers", "George Harrison", "When was it created", "In June that year, two days after finishing the album Revolver,", "What else was they known for", "While in Hamburg they received an anonymous telegram stating: \"Do not go to Tokyo. Your life is in danger\".", "What happen after that", "The threat was taken seriously", "What did they do about it", "35,000 police were mobilised and tasked with protecting the group,", "Did anybody get hurt", "The", "What else stood out to you", "the absence of screaming fans allowed them to hear how poor their live performances had become.", "What else was they recognized for", "I don't know." ]	C_a3875ab9f94c4495ab5568d7df98cba2_1	Anything else you read good	11	Anything else you read good aside from how poor their live performances had become	Sgt. Pepper's Lonely Hearts Club Band	By 1966, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June that year, two days after finishing the album Revolver, the group set off for a tour that started in Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger". The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The polite and restrained Japanese audiences shocked the band, because the absence of screaming fans allowed them to hear how poor their live performances had become. By the time that they arrived in the Philippines, where they were threatened and manhandled by its citizens for not visiting the First Lady Imelda Marcos, the group had grown unhappy with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. After the Beatles' return to London, George Harrison replied to a question about their long-term plans: "We'll take a couple of weeks to recuperate before we go and get beaten up by the Americans." His comments proved prophetic, as soon afterwards Lennon's remarks about the Beatles being "more popular than Jesus" embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a miserable US tour in August that was marked by half-filled stadiums and subpar performances proved to be their last. The author Nicholas Schaffner writes: To the Beatles, playing such concerts had become a charade so remote from the new directions they were pursuing that not a single tune was attempted from the just-released Revolver LP, whose arrangements were for the most part impossible to reproduce with the limitations imposed by their two-guitars-bass-and-drums stage lineup. Upon the Beatles' return to England, rumours began to circulate that they had decided to break up. Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. CANNOTANSWER	Upon the Beatles' return to England, rumours began to circulate that they had decided to break up.	Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, it spent 27 weeks at number one on the Record Retailer chart in the United Kingdom and 15 weeks at number one on the Billboard Top LPs chart in the United States. It was lauded by critics for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. Its release was a defining moment in 1960s pop culture, heralding the Summer of Love, while the album's reception achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. At the end of August 1966, the Beatles permanently retired from touring and pursued individual interests for the next three months. During a return flight to London in November, Paul McCartney had an idea for a song involving an Edwardian military band that formed the impetus of the Sgt. Pepper concept. Sessions began on 24 November at EMI Studios with compositions inspired by the Beatles' youth, but after pressure from EMI, the songs "Strawberry Fields Forever" and "Penny Lane" were released as a double A-side single in February 1967 and left off the LP. The album was loosely conceptualised as a performance by the fictional Sgt. Pepper band, an idea that was conceived after recording the title track. A key work of British psychedelia, it incorporates a range of stylistic influences, including vaudeville, circus, music hall, avant-garde, and Western and Indian classical music. The band continued the technological experimentation marked by their previous album, Revolver, this time without an absolute deadline for completion. With producer George Martin and engineer Geoff Emerick, the group coloured much of the recordings with sound effects and tape manipulation, as exemplified on "Lucy in the Sky with Diamonds", "Being for the Benefit of Mr. Kite!" and "A Day in the Life". Recording was completed on 21 April. The cover, which depicts the Beatles posing in front of a tableau of celebrities and historical figures, was designed by the pop artists Peter Blake and Jann Haworth. Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. It is considered one of the first art rock LPs, a progenitor to progressive rock, and the start of the album era. In 1968, it won four Grammy Awards, including Album of the Year, the first rock LP to receive this honour; in 2003 it was inducted into the National Recording Registry by the Library of Congress. It has topped several critics' and listeners' polls for the best album of all time, including those published by Rolling Stone magazine and in the book All Time Top 1000 Albums, and the UK's "Music of the Millennium" poll. It remains one of the best-selling albums of all time and was still, in 2018, the UK's best-selling studio album. More than 32 million copies had been sold worldwide as of 2011. A remixed and expanded edition of the album was released in 2017. Background By late 1965, the Beatles had grown weary of live performance. In John Lennon's opinion, they could "send out four waxworks ... and that would satisfy the crowds. Beatles concerts are nothing to do with music anymore. They're just bloody tribal rites." In June 1966, two days after finishing the album Revolver, the group set off for a tour that started in West Germany. While in Hamburg they received an anonymous telegram stating: "Do not go to Tokyo. Your life is in danger." The threat was taken seriously in light of the controversy surrounding the tour among Japan's religious and conservative groups, with particular opposition to the Beatles' planned performances at the sacred Nippon Budokan arena. As an added precaution, 35,000 police were mobilised and tasked with protecting the group, who were transported from hotels to concert venues in armoured vehicles. The Beatles then performed in the Philippines, where they were threatened and manhandled by its citizens for not visiting First Lady Imelda Marcos. The group were angry with their manager, Brian Epstein, for insisting on what they regarded as an exhausting and demoralising itinerary. The publication in the US of Lennon's remarks about the Beatles being "more popular than Jesus" then embroiled the band in controversy and protest in America's Bible Belt. A public apology eased tensions, but a US tour in August that was marked by reduced ticket sales, relative to the group's record attendances in 1965, and subpar performances proved to be their last. The author Nicholas Schaffner writes: On the Beatles' return to England, rumours began to circulate that they had decided to break up. George Harrison informed Epstein that he was leaving the band, but was persuaded to stay on the assurance that there would be no more tours. The group took a three-month break, during which they focused on individual interests. Harrison travelled to India for six weeks to study the sitar under the instruction of Ravi Shankar and develop his interest in Hindu philosophy. Having been the last of the Beatles to concede that their live performances had become futile, Paul McCartney collaborated with Beatles producer George Martin on the soundtrack for the film The Family Way and holidayed in Kenya with Mal Evans, one of the Beatles' tour managers. Lennon acted in the film How I Won the War and attended art showings, such as one at the Indica Gallery where he met his future wife Yoko Ono. Ringo Starr used the break to spend time with his wife Maureen and son Zak. Inspiration and conception While in London without his bandmates, McCartney took the hallucinogenic drug LSD (or "acid") for the first time, having long resisted Lennon and Harrison's insistence that he join them and Starr in experiencing its perception-heightening effects. According to author Jonathan Gould, this initiation into LSD afforded McCartney the "expansive new sense of possibility" that defined the group's next project, Sgt. Pepper's Lonely Hearts Club Band. Gould adds that McCartney's succumbing to peer pressure allowed Lennon "to play the role of psychedelic guide" to his songwriting partner, thereby facilitating a closer collaboration between the two than had been evident since early in the Beatles' career. For his part, Lennon had turned deeply introspective during the filming of How I Won the War in southern Spain in September 1966. His anxiety over his and the Beatles' future was reflected in "Strawberry Fields Forever", a song that provided the initial theme, regarding a Liverpool childhood, of the new album. On his return to London, Lennon embraced the city's arts culture, of which McCartney was a part, and shared his bandmate's interest in avant-garde and electronic-music composers such as Karlheinz Stockhausen, John Cage and Luciano Berio. In November, during his and Evans' return flight from Kenya, McCartney had an idea for a song that eventually formed the impetus of the Sgt. Pepper concept. His idea involved an Edwardian-era military band, for which Evans invented a name in the style of contemporary San Francisco-based groups such as Big Brother and the Holding Company and Quicksilver Messenger Service. In February 1967, McCartney suggested that the new album should represent a performance by the fictional band. This alter ego group would give them the freedom to experiment musically by releasing them from their image as Beatles. Martin recalled that the concept was not discussed at the start of the sessions, but it subsequently gave the album "a life of its own". Portions of Sgt. Pepper reflect the Beatles' general immersion in the blues, Motown and other American popular musical traditions. The author Ian MacDonald writes that when reviewing their rivals' recent work in late 1966, the Beatles identified the most significant LP as the Beach Boys' Pet Sounds, which Brian Wilson, the band's leader, had created in response to the Beatles' Rubber Soul. McCartney was highly impressed with the "harmonic structures" and choice of instruments used on Pet Sounds, and said that these elements encouraged him to think the Beatles could "get further out" than the Beach Boys had. He identified Pet Sounds as his main musical inspiration for Sgt. Pepper, adding that "[we] nicked a few ideas", although he felt it lacked the avant-garde quality he was seeking. Freak Out! by the Mothers of Invention has also been cited as having influenced Sgt. Pepper. According to the biographer Philip Norman, during the recording sessions McCartney repeatedly stated: "This is our Freak Out!" The music journalist Chet Flippo stated that McCartney was inspired to record a concept album after hearing Freak Out! Indian music was another touchstone on Sgt. Pepper, principally for Lennon and Harrison. In a 1967 interview, Harrison said that the Beatles' ongoing success had encouraged them to continue developing musically and that, given their standing, "We can do things that please us without conforming to the standard pop idea. We are not only involved in pop music, but all music." McCartney envisioned the Beatles' alter egos being able to "do a bit of B.B. King, a bit of Stockhausen, a bit of Albert Ayler, a bit of Ravi Shankar, a bit of Pet Sounds, a bit of the Doors". He saw the group as "pushing frontiers" similar to other composers of the time, even though the Beatles did not "necessarily like what, say, Berio was doing". Recording and production Recording history Sessions began on 24 November 1966 in Studio Two at EMI Studios (subsequently Abbey Road Studios), marking the first time that the Beatles had come together since September. Afforded the luxury of a nearly limitless recording budget, and with no absolute deadline for completion, the band booked open-ended sessions that started at 7 pm and allowed them to work as late as they wanted. They began with "Strawberry Fields Forever", followed by two other songs that were thematically linked to their childhoods: "When I'm Sixty-Four", the first session for which took place on 6 December, and "Penny Lane". "Strawberry Fields Forever" and "Penny Lane" were subsequently released as a double A-side in February 1967 after EMI and Epstein pressured Martin for a single. When it failed to reach number one in the UK, British press agencies speculated that the group's run of success might have ended, with headlines such as "Beatles Fail to Reach the Top", "First Time in Four Years" and "Has the Bubble Burst?" In keeping with the band's approach to their previously issued singles, the songs were then excluded from Sgt. Pepper. Martin later described the decision to drop these two songs as "the biggest mistake of my professional life". In his judgment, "Strawberry Fields Forever", which he and the band spent an unprecedented 55 hours of studio time recording, "set the agenda for the whole album". He explained: "It was going to be a record ... [with songs that] couldn't be performed live: they were designed to be studio productions and that was the difference." McCartney declared: "Now our performance that record." According to the musicologist Walter Everett, Sgt. Pepper marks the beginning of McCartney's ascendancy as the Beatles' dominant creative force. He wrote more than half of the album's material while asserting increasing control over the recording of his compositions. In an effort to get the right sound, the Beatles attempted numerous re-takes of McCartney's song "Getting Better". When the decision was made to re-record the basic track, Starr was summoned to the studio, but called off soon afterwards as the focus switched from rhythm to vocal tracking. Much of the bass guitar on the album was mixed upfront. Preferring to overdub his bass part last, McCartney tended to play other instruments when recording a song's backing track. This approach afforded him the time to devise bass lines that were melodically adventurous – one of the qualities he especially admired in Wilson's work on Pet Sounds – and complemented the song's final arrangement. McCartney played keyboard instruments such as piano, grand piano and Lowrey organ, in addition to electric guitar on some songs, while Martin variously contributed on Hohner Pianet, harpsichord and harmonium. Lennon's songs similarly showed a preference for keyboard instruments. Although Harrison's role as lead guitarist was limited during the sessions, Everett considers that "his contribution to the album is strong in several ways." He provided Indian instrumentation in the form of sitar, tambura and swarmandal, and Martin credited him with being the most committed of the Beatles in striving for new sounds. Starr's adoption of loose calfskin heads for his tom-toms ensured his drum kit had a deeper timbre than he had previously achieved with plastic heads. As on Revolver, the Beatles increasingly used session musicians, particularly for classical-inspired arrangements. Norman comments that Lennon's prominent vocal on some of McCartney's songs "hugely enhanced their atmosphere", particularly "Lovely Rita". Within an hour of completing the last overdubs on the album's songs, on 20 April 1967, the group returned to Harrison's "Only a Northern Song", the basic track of which they had taped in February. The Beatles overdubbed random sounds and instrumentation before submitting it as the first of four new songs they were contracted to supply to United Artists for inclusion in the animated film Yellow Submarine. In author Mark Lewisohn's description, it was a "curious" session, but one that demonstrated the Beatles' "tremendous appetite for recording". During the Sgt. Pepper sessions, the band also recorded "Carnival of Light", a McCartney-led experimental piece created for the Million Volt Light and Sound Rave, held at the Roundhouse Theatre on 28 January and 4 February. The album was completed on 21 April with the recording of random noises and voices that were included on the run-out groove, preceded by a high-pitched tone that could be heard by dogs but was inaudible to most human ears. Studio ambience and happenings The Beatles sought to inject an atmosphere of celebration into the recording sessions. Weary of the bland look inside EMI, they introduced psychedelic lighting to the studio space, including a device on which five red fluorescent tubes were fixed to a microphone stand, a lava lamp, a red darkroom lamp, and a stroboscope, the last of which they soon abandoned. Harrison later said the studio became the band's clubhouse for Sgt. Pepper; David Crosby, Mick Jagger and Donovan were among the musician friends who visited them there. The band members also dressed up in psychedelic fashions, leading one session trumpeter to wonder whether they were in costume for a new film. Drug-taking was prevalent during the sessions, with Martin later recalling that the group would steal away to "have something". The 10 February session for orchestral overdubs on "A Day in the Life" was staged as a happening typical of the London avant-garde scene. The Beatles invited numerous friends and the session players wore formal dinner-wear augmented with fancy-dress props. Overseen by NEMS employee Tony Bramwell, the proceedings were filmed on seven handheld cameras, with the band doing some of the filming. Following this event, the group considered making a television special based on the album. Each of the songs was to be represented with a clip directed by a different director, but the cost of recording Sgt. Pepper made the idea prohibitive to EMI. For the 15 March session for "Within You Without You", Studio Two was transformed with Indian carpets placed on the walls, dimmed lighting and burning incense to evoke the requisite Indian mood. Lennon described the session as a "great swinging evening" with "400 Indian fellas" among the guests. The Beatles took an acetate disc of the completed album to the flat of American singer Cass Elliot, off King's Road in Chelsea. There, at six in the morning, they played it at full volume with speakers set in open window frames. The group's friend and former press agent, Derek Taylor, remembered that residents of the neighbourhood opened their windows and listened without complaint to what they understood to be unreleased Beatles music. Technical aspects In his book on ambient music, The Ambient Century: From Mahler to Moby, Mark Prendergast views Sgt. Pepper as the Beatles' "homage" to Stockhausen and Cage, adding that its "rich, tape-manipulated sound" shows the influence of electronic and experimental composer Pierre Schaeffer. Martin recalled that Sgt. Pepper "grew naturally out of Revolver", marking "an era of almost continuous technological experimentation". The album was recorded using four-track equipment, since eight-track tape recorders were not operational in commercial studios in London until late 1967. As with previous Beatles albums, the Sgt. Pepper recordings made extensive use of reduction mixing, a technique in which one to four tracks from one recorder are mixed and dubbed down onto a master four-track machine, enabling the engineers to give the group a virtual multitrack studio. EMI's Studer J37 four-track machines were well suited to reduction mixing, as the high quality of the recordings that they produced minimised the increased noise associated with the process. When recording the orchestra for "A Day in the Life", Martin synchronised a four-track recorder playing the Beatles' backing track to another one taping the orchestral overdub. The engineer Ken Townsend devised a method for accomplishing this by using a 50 Hz control signal between the two machines. The production on "Strawberry Fields Forever" was especially complex, involving the innovative splicing of two takes that were recorded in different tempos and pitches. Emerick remembers that during the recording of Revolver, "we had got used to being asked to do the impossible, and we knew that the word 'no' didn't exist in the Beatles' vocabulary." A key feature of Sgt. Pepper is Martin and Emerick's liberal use of signal processing to shape the sound of the recording, which included the application of dynamic range compression, reverb and signal limiting. Relatively new modular effects units were used, such as running voices and instruments through a Leslie speaker. Several innovative production techniques feature prominently on the recordings, including direct injection, pitch control and ambiophonics. The bass part on "Sgt. Pepper's Lonely Hearts Club Band" was the first example of the Beatles recording via direct injection (DI), which Townsend devised as a method for plugging electric guitars directly into the recording console. In Kenneth Womack's opinion, the use of DI on the album's title track "afforded McCartney's bass with richer textures and tonal clarity". Some of the mixing employed automatic double tracking (ADT), a system that uses tape recorders to create a simultaneous doubling of a sound. ADT was invented by Townsend during the Revolver sessions in 1966 especially for the Beatles, who regularly expressed a desire for a technical alternative to having to record doubled lead vocals. Another important effect was varispeeding, a technique that the Beatles used extensively on Revolver. Martin cites "Lucy in the Sky with Diamonds" as having the most variations of tape speed on Sgt. Pepper. During the recording of Lennon's vocals, the tape speed was reduced from 50 cycles per second to 45, which produced a higher and thinner-sounding track when played back at the normal speed. For the album's title track, the recording of Starr's drum kit was enhanced by the use of damping and close-miking. MacDonald credits the new recording technique with creating a "three-dimensional" sound that, along with other Beatles innovations, engineers in the US would soon adopt as standard practice. Artistic experimentation, such as the placement of random gibberish in the run-out groove, became one of the album's defining features. Sgt. Pepper was the first pop album to be mastered without the momentary gaps that are typically placed between tracks as a point of demarcation. It made use of two crossfades that blended songs together, giving the impression of a continuous live performance. Although both stereo and monaural mixes of the album were prepared, the Beatles were minimally involved in what they regarded as the less important stereo mix sessions, leaving the task to Martin and Emerick. Emerick recalls: "We spent three weeks on the mono mixes and maybe three days on the stereo." Most listeners ultimately heard only the stereo version. He estimates that the group spent 700 hours on the LP, more than 30 times that of the first Beatles album, Please Please Me, which cost £400 to produce. The final cost of Sgt. Pepper was approximately £25,000 (). Band dynamics Author Robert Rodriguez writes that while Lennon, Harrison and Starr embraced the creative freedom afforded by McCartney's band-within-a-band idea, they "went along with the concept with varying degrees of enthusiasm". Studio personnel recalled that Lennon had "never seemed so happy" as during the Sgt. Pepper sessions. In a 1969 interview with Barry Miles, however, Lennon said he was depressed and that while McCartney was "full of confidence", he was "going through murder". Lennon explained his view of the album's concept: "Paul said, 'Come and see the show', I didn't. I said, 'I read the news today, oh boy. Everett describes Starr as having been "largely bored" during the sessions, with the drummer later lamenting: "The biggest memory I have of Sgt. Pepper ... is I learned to play chess". In The Beatles Anthology, Harrison said he had little interest in McCartney's concept of a fictitious group and that, after his experiences in India, "my heart was still out there … I was losing interest in being 'fab' at that point." Harrison added that, having enjoyed recording Rubber Soul and Revolver, he disliked how the group's approach on Sgt. Pepper became "an assembly process" whereby, "A lot of the time it ended up with just Paul playing the piano and Ringo keeping the tempo, and we weren't allowed to play as a band as much." In Lewisohn's opinion, Sgt. Pepper represents the group's last unified effort, displaying a cohesion that deteriorated immediately following the album's completion and entirely disappeared by the release of The Beatles (also known as the "White Album") in 1968. Martin recalled in 1987 that throughout the making of Sgt. Pepper, "There was a very good spirit at that time between all the Beatles and ourselves. We were all conscious that we were doing something that was great." He said that while McCartney effectively led the project, and sometimes annoyed his bandmates, "Paul appreciated John's contribution on Pepper. In terms of quantity, it wasn't great, but in terms of quality, it was enormous." Songs Overview Among musicologists, Allan Moore says that Sgt. Pepper is composed mainly of rock and pop music, while Michael Hannan and Naphtali Wagner both see it as an album of various genres; Hannan says it features "a broad variety of musical and theatrical genres". According to Hannan and Wagner, the music incorporates the stylistic influences of rock and roll, vaudeville, big band, piano jazz, blues, chamber, circus, music hall, avant-garde, and Western and Indian classical music. Wagner feels the album's music reconciles the "diametrically opposed aesthetic ideals" of classical and psychedelia, achieving a "psycheclassical synthesis" of the two forms. Musicologist John Covach describes Sgt. Pepper as "proto-progressive". According to author George Case, all of the songs on Sgt. Pepper were perceived by contemporary listeners as being drug-inspired, with 1967 marking the pinnacle of LSD's influence on pop music. Shortly before the album's release, the BBC banned "A Day in the Life" from British radio because of the phrase "I'd love to turn you on"; the BBC stated that it could "encourage a permissive attitude towards drug-taking". Although Lennon and McCartney denied any drug-related interpretation of the song at the time, McCartney later suggested that the line referred to either drugs or sex. The meaning of "Lucy in the Sky with Diamonds" became the subject of speculation, as many believed that the title was code for LSD. In "Being for the Benefit of Mr. Kite!", the reference to "Henry the Horse" contains two common slang terms for heroin. Fans speculated that Henry the Horse was a drug dealer and "Fixing a Hole" was a reference to heroin use. Others noted lyrics such as "I get high" from "With a Little Help from My Friends", "take some tea" – slang for cannabis use – from "Lovely Rita", and "digging the weeds" from "When I'm Sixty-Four". The author Sheila Whiteley attributes Sgt. Pepper underlying philosophy not only to the drug culture, but also to metaphysics and the non-violent approach of the flower power movement. The musicologist Oliver Julien views the album as an embodiment of "the social, the musical, and more generally, the cultural changes of the 1960s". The album's primary value, according to Moore, is its ability to "capture, more vividly than almost anything contemporaneous, its own time and place". Whiteley agrees, crediting the album with "provid[ing] a historical snapshot of England during the run-up to the Summer of Love". Several scholars have applied a hermeneutic strategy to their analysis of Sgt. Pepper lyrics, identifying loss of innocence and the dangers of overindulgence in fantasies or illusions as the most prominent themes. Side one "Sgt. Pepper's Lonely Hearts Club Band" Sgt. Pepper opens with the title track, starting with 10 seconds of the combined sounds of a pit orchestra warming up and an audience waiting for a concert, creating the illusion of the album as a live performance. McCartney serves as the master of ceremonies, welcoming the audience to a twentieth-anniversary reunion concert by Sgt. Pepper's band, who, led by Lennon, then sing a message of appreciation for the crowd's warm response. Womack says the lyric bridges the fourth wall between the artist and their audience. He argues that, paradoxically, the lyrics "exemplify the mindless rhetoric of rock concert banter" while "mock[ing] the very notion of a pop album's capacity for engendering authentic interconnection between artist and audience". In his view, the mixed message ironically serves to distance the group from their fans while simultaneously "gesturing toward" them as alter egos. The song's five-bar bridge is filled by a French horn quartet. Womack credits the recording's use of a brass ensemble with distorted electric guitars as an early example of rock fusion. MacDonald agrees, describing the track as an overture rather than a song, and a "fusion of Edwardian variety orchestra" and contemporary hard rock. Hannan describes the track's unorthodox stereo mix as "typical of the album", with the lead vocal in the right speaker during the verses, but in the left during the chorus and middle eight. McCartney returns as the master of ceremonies near the end of the song, announcing the entrance of an alter ego named Billy Shears. "With a Little Help from My Friends" The title track segues into "With a Little Help from My Friends" amid the sound of screaming fans recorded during a Beatles concert at the Hollywood Bowl. In his role as Billy Shears, Starr contributes a baritone lead vocal that Womack credits with imparting an element of "earnestness in sharp contrast with the ironic distance of the title track". Written by Lennon and McCartney, the song's lyrics centre on a theme of questions, beginning with Starr asking the audience whether they would leave if he sang out of tune. In the call-and-response style, Lennon, McCartney and Harrison go on to ask their bandmate questions about the meaning of friendship and true love; by the final verse, Starr provides unequivocal answers. In MacDonald's opinion, the lyric is "at once communal and personal ... [and] meant as a gesture of inclusivity; everyone could join in." Everett comments that the track's use of a major key double-plagal cadence became commonplace in pop music following the release of Sgt. Pepper. "Lucy in the Sky with Diamonds" Despite widespread suspicion that the title of "Lucy in the Sky with Diamonds" contained a hidden reference to LSD, Lennon insisted that it was derived from a pastel drawing by his four-year-old son Julian. A hallucinatory chapter from Lewis Carroll 1871 novel Through the Looking-Glass, a favourite of Lennon's, inspired the song's atmosphere. According to MacDonald, "the lyric explicitly recreates the psychedelic experience". The first verse begins with what Womack characterises as "an invitation in the form of an imperative" through the line: "Picture yourself in a boat on a river", and continues with imaginative imagery, including "tangerine trees", "rocking horse people" and "newspaper taxis". The musical backing includes a phrase played by McCartney on a Lowrey organ, treated with ADT to sound like a celeste, and tambura drone. Harrison also contributed a lead guitar part that doubles Lennon's vocal over the verses in the style of a sarangi player accompanying an Indian khyal singer. The music critic Tim Riley identifies the track as a moment "in the album, [where] the material world is completely clouded in the mythical by both text and musical atmosphere". "Getting Better" MacDonald considers "Getting Better" to contain "the most ebullient performance" on Sgt. Pepper. Womack credits the track's "driving rock sound" with distinguishing it from the album's overtly psychedelic material; its lyrics inspire the listener "to usurp the past by living well and flourishing in the present". He cites it as a strong example of Lennon and McCartney's collaborative songwriting, particularly Lennon's addition of the line "It can't get no worse", which serves as a "sarcastic rejoinder" to McCartney's chorus: "It's getting better all the time". Lennon's contribution to the lyric also includes a confessional regarding his having been violent with female companions: "I used to be cruel to my woman". In Womack's opinion, the song encourages the listener to follow the speaker's example and "alter their own angst-ridden ways": "Man I was mean, but I'm changing my scene and I'm doing the best that I can." "Fixing a Hole" "Fixing a Hole" deals with McCartney's desire to let his mind wander freely and to express his creativity without the burden of self-conscious insecurities. Womack interprets the lyric as "the speaker's search for identity among the crowd", in particular the "quests for consciousness and connection" that differentiate individuals from society as a whole. MacDonald characterises it as a "distracted and introverted track", during which McCartney forgoes his "usual smooth design" in favour of "something more preoccupied". He cites Harrison's electric guitar solo as serving the track well, capturing its mood by conveying detachment. Womack notes McCartney's adaptation of the lyric "a hole in the roof where the rain leaks in" from Elvis Presley's "We're Gonna Move". "She's Leaving Home" In Everett's view, the lyrics to "She's Leaving Home" address the problem of alienation "between disagreeing peoples", particularly those distanced from each other by the generation gap. McCartney's narrative details the plight of a young woman escaping the control of her parents, and was inspired by a piece about teenage runaways published in the Daily Mail. Lennon supplies a supporting vocal that conveys the parents' anguish and confusion. It is the first track on Sgt. Pepper that eschews the use of guitars and drums, featuring only a string nonet with a harp. Music historian Doyle Greene views it as the first of the album's songs to address "the crisis of middle-class life in the late 1960s" and comments on its surprisingly conservative sentiments, given McCartney's absorption in the London avant-garde scene. "Being for the Benefit of Mr. Kite!" Lennon adapted the lyrics for "Being for the Benefit of Mr. Kite!" from an 1843 poster for Pablo Fanque's circus that he purchased at an antique shop in Kent on the day of filming the promotional film for "Strawberry Fields Forever". Womack views the track as an effective blending of a print source and music, while MacDonald describes it as "a spontaneous expression of its author's playful hedonism". Tasked by Lennon to evoke a circus atmosphere so vivid that he could "smell the sawdust", Martin and Emerick created a sound collage comprising randomly assembled recordings of harmoniums, harmonicas and calliopes. Everett says that the track's use of Edwardian imagery thematically links it with the album's title song. Gould also views "Mr. Kite!" as a return to the LP's opening motif, albeit that of show business and with the focus now on performers and a show in a radically different setting. Side two "Within You Without You" Harrison's Hindustani classical music-inspired "Within You Without You" reflects his immersion in the teachings of the Hindu Vedas, while its musical form and Indian instrumentation, such as sitar, tabla, dilrubas and tamburas, recalls the Hindu devotional tradition known as bhajan. Harrison recorded the song with London-based Indian musicians from the Asian Music Circle; none of the other Beatles played on the recording. He and Martin then worked on a Western string arrangement that imitated the slides and bends typical of Indian music. The song's pitch is derived from the eastern Khamaj scale, which is akin to the Mixolydian mode in the West. MacDonald regards "Within You Without You" as "the most distant departure from the staple Beatles sound in their discography", and a work that represents the "conscience" of the LP through the lyrics' rejection of Western materialism. Womack calls it "quite arguably, the album's ethical soul" and views the line "With our love we could save the world" as a concise reflection of the Beatles' idealism that soon inspired the Summer of Love. The track ends with a burst of laughter gleaned from a tape in the EMI archive; some listeners interpreted this as a mockery of the song, but Harrison explained: "It's a release after five minutes of sad music ... You were supposed to hear the audience anyway, as they listen to Sergeant Pepper's Show. That was the style of the album." "When I'm Sixty-Four" MacDonald characterises McCartney's "When I'm Sixty-Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's seaside postcards. Its sparse arrangement includes clarinets, chimes and piano. Moore views the song as a synthesis of ragtime and pop, adding that its position following "Within You Without You" – a blend of Indian classical music and pop – demonstrates the diversity of the album's material. He says the music hall atmosphere is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and "The Blue Danube" by Johann Strauss. Varispeeding was used on the track, raising its pitch by a semitone in an attempt to make McCartney sound younger. Everett comments that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album. "Lovely Rita" Womack describes "Lovely Rita" as a work of "full-tilt psychedelia" that contrasts sharply with the preceding track. Citing McCartney's recollection that he drew inspiration from learning that the American term for a female traffic warden was a meter maid, Gould deems it a celebration of an encounter that evokes Swinging London and the contemporaneous chic for military-style uniforms. MacDonald regards the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self-absorption". The arrangement includes a quartet of comb-and-paper kazoos, a piano solo by Martin, and a coda in which the Beatles indulge in panting, groaning and other vocalised sounds. In Gould's view, the track represents "the show-stopper in the Pepper Band's repertoire: a funny, sexy, extroverted song that comes closer to the spirit of rock 'n' roll than anything else on the album". "Good Morning Good Morning" Lennon was inspired to write "Good Morning Good Morning" after watching a television commercial for Kellogg's Corn Flakes, the jingle from which he adapted for the song's refrain. The track uses the bluesy Mixolydian mode in A, which Everett credits with "perfectly express[ing] Lennon's grievance against complacency". According to Greene, the song contrasts sharply with "She's Leaving Home" by providing "the more 'avant-garde' subversive study of suburban life". The time signature varies across 5/4, 3/4 and 4/4, while the arrangement includes a horn section comprising members of Sounds Inc. MacDonald highlights the "rollicking" brass score, Starr's drumming and McCartney's "coruscating pseudo-Indian guitar solo" among the elements that convey a sense of aggression on a track he deems a "disgusted canter through the muck, mayhem, and mundanity of the human farmyard". A series of animal noises appear during the fade-out that are sequenced – at Lennon's request – so that each successive animal could conceivably scare or devour the preceding one. The sound of a chicken clucking overlaps with a stray guitar note at the start of the next track, creating a seamless transition between the two songs. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" follows as a segue to the album's finale. The hard-rocking song was written after Neil Aspinall, the Beatles' road manager, suggested that since "Sgt. Pepper" opened the album, the fictional band should make an appearance near the end. Sung by all four Beatles, the reprise omits the brass section from the title track and has a faster tempo. With Harrison on lead guitar, it serves as a rare example from the Sgt. Pepper sessions where the group taped a basic track live with their usual stage instrumentation. MacDonald finds the Beatles' excitement tangibly translated on the recording, which is again augmented with ambient crowd noise. "A Day in the Life" The last chord of the "Sgt. Pepper" reprise segues amid audience applause to acoustic guitar strumming and the start of what Moore calls "one of the most harrowing songs ever written". "A Day in the Life" consists of four verses by Lennon, a bridge, two aleatoric orchestral crescendos, and an interpolated middle part written and sung by McCartney. The first crescendo serves as a segue between the third verse and the middle part, leading to a bridge known as the "dream sequence". Lennon drew inspiration for the lyrics from a Daily Mail report on potholes in the Lancashire town of Blackburn and an article in the same newspaper relating to the death of Beatles friend and Guinness heir Tara Browne. According to Martin, Lennon and McCartney were equally responsible for the decision to use an orchestra. Martin said that Lennon requested "a tremendous build-up, from nothing up to something absolutely like the end of the world", while McCartney realised this idea by drawing inspiration from Cage and Stockhausen. Womack describes Starr's performance as "one of his most inventive drum parts on record". The thunderous piano chord that concludes the track and the album was produced by recording Lennon, Starr, McCartney and Evans simultaneously sounding an E major chord on three separate pianos; Martin then augmented the sound with a harmonium. Riley characterises the song as a "postlude to the Pepper fantasy ... that sets all the other songs in perspective", while shattering the illusion of "Pepperland" by introducing the "parallel universe of everyday life". MacDonald describes the track as "a song not of disillusionment with life itself, but of disenchantment with the limits of mundane perception". As "A Day in the Life" ends, a 15-kilohertz high-frequency tone is heard; it was added at Lennon's suggestion with the intention that it would annoy dogs. This is followed by the sounds of backwards laughter and random gibberish that were pressed into the record's concentric run-out groove, which loops back into itself endlessly on any record player not equipped with an automatic needle return. Lennon can be heard saying, "Been so high", followed by McCartney's response: "Never could be any other way." Concept According to Womack, with Sgt. Pepper opening song "the Beatles manufacture an artificial textual space in which to stage their art." The reprise of the title song appears on side two, just before the climactic "A Day in the Life", creating a framing device. In Lennon and Starr's view, only the first two songs and the reprise are conceptually connected. In a 1980 interview, Lennon stated that his compositions had nothing to do with the Sgt. Pepper concept, adding: "Sgt. Pepper is called the first concept album, but it doesn't go anywhere ... it works because we it worked." In MacFarlane's view, the Beatles "chose to employ an overarching thematic concept in an apparent effort to unify individual tracks". Everett contends that the album's "musical unity results ... from motivic relationships between key areas, particularly involving C, E, and G". Moore argues that the recording's "use of common harmonic patterns and falling melodies" contributes to its overall cohesiveness, which he describes as narrative unity, but not necessarily conceptual unity. MacFarlane agrees, suggesting that with the exception of the reprise, the album lacks the melodic and harmonic continuity that is consistent with cyclic form. In a 1995 interview, McCartney recalled that the Liverpool childhood theme behind the first three songs recorded during the Sgt. Pepper sessions was never formalised as an album-wide concept, but he said that it served as a "device" or underlying theme throughout the project. MacDonald identifies allusions to the Beatles' upbringing throughout Sgt. Pepper that are "too persuasive to ignore". These include evocations of the postwar Northern music-hall tradition, references to Northern industrial towns and Liverpool schooldays, Lewis Carroll-inspired imagery (acknowledging Lennon's favourite childhood reading), the use of brass instrumentation in the style of park bandstand performances (familiar to McCartney through his visits to Sefton Park), and the album cover's flower arrangement akin to a floral clock. Norman partly agrees; he says that "In many ways, the album carried on the childhood and Liverpool theme with its circus and fairground effects, its pervading atmosphere of the traditional northern music hall that was in both its main creators' [McCartney and Lennon's] blood." Packaging Front cover Pop artists Peter Blake and Jann Haworth designed the album cover for Sgt. Pepper. Blake recalled of the concept: "I offered the idea that if they had just played a concert in the park, the cover could be a photograph of the group just after the concert with the crowd who had just watched the concert, watching them." He added, "If we did this by using cardboard cut-outs, it could be a magical crowd of whomever they wanted." According to McCartney, he himself provided the ink drawing on which Blake and Haworth based the design. The cover was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP includes a colourful collage featuring the Beatles in costume as Sgt. Pepper's Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. Each of the Beatles sports a heavy moustache, after Harrison had first grown one as a disguise during his visit to India. The moustaches reflected the growing influence of hippie style trends, while the group's clothing, in Gould's description, "spoofed the vogue in Britain for military fashions". The centre of the cover depicts the Beatles standing behind a bass drum on which fairground artist Joe Ephgrave painted the words of the album's title. In front of the drum is an arrangement of flowers that spell out "Beatles". The group are dressed in satin day-glo-coloured military-style uniforms that were manufactured by the London theatrical costumer M. Berman Ltd. Next to the Beatles are wax sculptures of the band members in their suits and moptop haircuts from the Beatlemania era, borrowed from Madame Tussauds. Amid the greenery are figurines of the Eastern deities Buddha and Lakshmi. The cover collage includes 57 photographs and nine waxworks. Author Ian Inglis views the tableau "as a guidebook to the cultural topography of the decade" that conveyed the increasing democratisation of society whereby "traditional barriers between 'high' and 'low' culture were being eroded", while Case cites it as the most explicit demonstration of pop culture's "continuity with the avant-gardes of yesteryear". The final grouping included Stockhausen and Carroll, along with singers such as Bob Dylan and Bobby Breen; film stars Marlon Brando, Tyrone Power, Tony Curtis, Marlene Dietrich, Mae West and Marilyn Monroe; artist Aubrey Beardsley; boxer Sonny Liston and footballer Albert Stubbins. Also included were comedians Stan Laurel and Oliver Hardy; writers H.G. Wells, Oscar Wilde and Dylan Thomas; and the philosophers and scientists Karl Marx, Albert Einstein, Sigmund Freud and Carl Jung. Harrison chose the Self-Realization Fellowship gurus Mahavatar Babaji, Lahiri Mahasaya, Sri Yukteswar and Paramahansa Yogananda. The Rolling Stones are represented by a doll wearing a shirt emblazoned with a message of welcome to the band. Fearing controversy, EMI rejected Lennon's request for images of Adolf Hitler and Jesus Christ and Harrison's for Mahatma Gandhi. When McCartney was asked why the Beatles did not include Elvis Presley among the musical artists, he replied: "Elvis was too important and too far above the rest even to mention." Starr was the only Beatle who offered no suggestions for the collage, telling Blake, "Whatever the others say is fine by me." The final cost for the cover art was nearly £3,000 (), an extravagant sum for a time when album covers would typically cost around £50 (). Back cover, gatefold and cut-outs The 30 March 1967 photo session with Cooper also produced the back cover and the inside gatefold, which Inglis describes as conveying "an obvious and immediate warmth ... which distances it from the sterility and artifice typical of such images". McCartney recalled the inner-gatefold image as an example of the Beatles' interest in "eye messages", adding: "So with Michael Cooper's inside photo, we all said, 'Now look into this camera and really say I love you! Really try and feel love; really give love through this!'... [And] if you look at it you'll see the big effort from the eyes." In Lennon's description, Cooper's photos of the band showed "two people who are flying [on drugs], and two who aren't". The album's lyrics were printed in full on the back cover, the first time this had been done on a rock LP. The record's inner sleeve featured artwork by the Dutch design team the Fool that eschewed for the first time the standard white paper in favour of an abstract pattern of waves of maroon, red, pink and white. Included as a bonus gift was a sheet of cardboard cut-outs designed by Blake and Haworth. These consisted of a postcard-sized portrait of Sgt. Pepper, based on a statue from Lennon's house that was used on the front cover, a fake moustache, two sets of sergeant stripes, two lapel badges, and a stand-up cut-out of the Beatles in their satin uniforms. Moore writes that the inclusion of these items helped fans "pretend to be in the band". Release Radio previews and launch party The album was previewed on the pirate radio station Radio London on 12 May and officially on the BBC Light Programme's show Where It's At, by Kenny Everett, on 20 May. Everett played the entire album apart from "A Day in the Life". The day before Everett's broadcast, Epstein hosted a launch party for music journalists and disc jockeys at his house in Belgravia in central London. The event was a new initiative in pop promotion and furthered the significance of the album's release. Melody Maker reporter described it as the first "listen-in" and typical of the Beatles' penchant for innovation. The party marked the band's first group interaction with the press in close to a year. Norrie Drummond of the NME wrote that they had been "virtually incommunicado" over that time, leading a national newspaper to complain that the band were "contemplative, secretive and exclusive". Some of the journalists present were shocked by the Beatles' appearance, particularly that of Lennon and Harrison, as the band members' bohemian attire contrasted sharply with their former image. Music journalist Ray Coleman recalled that Lennon looked "haggard, old, ill" and clearly under the influence of drugs. Biographer Howard Sounes likens the Beatles' presence to a gathering of the British royal family and highlights a photo from the event that shows Lennon shaking McCartney's hand "in an exaggeratedly congratulatory way, throwing his head back in sarcastic laughter". On 26 May, Sgt. Pepper was given a rush-release in the UK, ahead of the scheduled date of 1 June. The band's eighth LP, it was the first Beatles album where the track listings were exactly the same for the UK and US versions. The US release took place on 2 June. Capitol Records' advertising for the album emphasised that the Beatles and Sgt. Pepper's band were one and the same. Public reaction Sgt. Pepper was widely perceived by listeners as the soundtrack to the Summer of Love, during a year that author Peter Lavezzoli calls "a watershed moment in the West when the search for higher consciousness and an alternative world view had reached critical mass". Rolling Stone magazine's Langdon Winner recalled: According to Riley, the album "drew people together through the common experience of pop on a larger scale than ever before". In MacDonald's description, an "almost religious awe surrounded the LP"; he says that its impact was cross-generational, as "Young and old alike were entranced", and era-defining, in that the "psychic shiver" it inspired across the world was "nothing less than a cinematic dissolve from one Zeitgeist to another". In his view, Sgt. Pepper conveyed the psychedelic experience so effectively to listeners unfamiliar with hallucinogenic drugs that "If such a thing as a cultural 'contact high' is possible, it happened here." Music journalist Mark Ellen, a teenager in 1967, recalls listening to part of the album at a friend's house and then hearing the rest playing at the next house he visited as if the record was emanating communally from "one giant Dansette". He says the most remarkable thing was its acceptance by adults who had turned against the Beatles when they became "gaunt and enigmatic", and how the group, recast as polished "masters of ceremony", were now "the very family favourites they'd sought to satirise". Writing in his book Electric Shock, Peter Doggett describes Sgt. Pepper as "the biggest pop happening" to take place between the Beatles' debut on American television in February 1964 and Lennon's murder in December 1980, while Norman writes: "A whole generation, still used to happy landmarks through life, would always remember exactly when and where they first played it..." The album's impact was felt at the Monterey International Pop Festival, the second event in the Summer of Love, organised by Taylor and held over 16–18 June in county fairgrounds south of San Francisco. Sgt. Pepper was played in kiosks and stands there, and festival staff wore badges carrying Lennon's lyric "A splendid time is guaranteed for all". American radio stations interrupted their regular scheduling, playing the album virtually non-stop, often from start to finish. Emphasising its identity as a self-contained work, none of the songs were issued as singles at the time or available on spin-off EPs. Instead, the Beatles released "All You Need Is Love" as a single in July, after performing the song on the Our World satellite broadcast on 25 June before an audience estimated at 400 million. According to sociomusicologist Simon Frith, the international broadcast served to confirm "the Beatles' evangelical role" amid the public's embrace of Sgt. Pepper. In the UK, Our World also quelled the furore that followed McCartney's repeated admission in mid June that he had taken LSD. In Norman's description, this admission was indicative of how "invulnerable" McCartney felt after Sgt. Pepper; it made the band's drug-taking public knowledge and confirmed the link between the album and drugs. Commercial performance Sgt. Pepper topped the Record Retailer albums chart (now the UK Albums Chart) for 23 consecutive weeks from 10 June, with a further four weeks at number one in the period through to February 1968. The record sold 250,000 copies in the UK during its first seven days on sale there. The album held the number one position on the Billboard Top LPs chart in the US for 15 weeks, from 1 July to 13 October 1967, and remained in the top 200 for 113 consecutive weeks. It also topped charts in many other countries. With 2.5 million copies sold within three months of its release, Sgt. Pepper initial commercial success exceeded that of all previous Beatles albums. In the UK, it was the best-selling album of 1967 and of the decade. According to figures published in 2009 by former Capitol executive David Kronemyer, further to estimates he gave in MuseWire magazine, the album had sold 2,360,423 copies in the US by 31 December 1967 and 3,372,581 copies by the end of the decade. Contemporary critical reception The release of Sgt. Pepper coincided with a period when, with the advent of dedicated rock criticism, commentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements. In America, this approach had been heightened by the "Strawberry Fields Forever" / "Penny Lane" single, and was also exemplified by Leonard Bernstein's television program Inside Pop: The Rock Revolution, broadcast by CBS in April 1967. Following the release of the Beatles' single, in author Bernard Gendron's description, a "discursive frenzy" ensued as Time, Newsweek and other publications from the cultural mainstream increasingly voiced their "ecstatic approbation toward the Beatles". The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Schaffner said that the consensus was aptly summed up by Tom Phillips in The Village Voice, when he called the LP "the most ambitious and most successful record album ever issued". Among Britain's pop press, Peter Jones of Record Mirror said the album was "clever and brilliant, from raucous to poignant and back again", while Disc and Music Echo reviewer called it "a beautiful and potent record, unique, clever, and stunning". In The Times, William Mann described Sgt. Pepper as a "pop music master-class" and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". Having been among the first British critics to fully appreciate Revolver, Peter Clayton of Gramophone magazine said that the new album was "like nearly everything the Beatles do, bizarre, wonderful, perverse, beautiful, exciting, provocative, exasperating, compassionate and mocking". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing. It's the combination of imagination, cheek and skill that make this such a rewarding LP." Wilfrid Mellers, in his review for New Statesman, praised the album's elevation of pop music to the level of fine art, while Kenneth Tynan, The Times theatre critic, said it represented "a decisive moment in the history of Western civilisation". Newsweek Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith Sitwell, Harold Pinter and T. S. Eliot, particularly "A Day in the Life", which he likened to Eliot's The Waste Land. The New Yorker paired the Beatles with Duke Ellington, as artists who operated "in that special territory where entertainment slips into art". One of the few well-known American rock critics at the time, and another early champion of Revolver, Richard Goldstein wrote a scathing review in The New York Times. He characterised Sgt. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent", and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers". Although he admired "A Day in the Life", comparing it to a work by Wagner, Goldstein said that the songs lacked lyrical substance such that "tone overtakes meaning", an aesthetic he blamed on "posturing and put-on" in the form of production effects such as echo and reverb. As a near-lone voice of dissent, he was widely castigated for his views. Four days later, The Village Voice, where Goldstein had become a celebrated columnist since 1966, reacted to the "hornet's nest" of complaints, by publishing Phillips' highly favourable review. According to Schaffner, Goldstein was "kept busy for months" justifying his opinions, which included writing a defence of his review, for the Voice, in July. Among the commentators who responded to Goldstein's critique, composer Ned Rorem, writing in The New York Review of Books, credited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Time quoted musicologists and avant-garde composers who equated the standard of the Beatles' songwriting to Schubert and Schumann, and located the band's work to electronic music; the magazine concluded that the album was "a historic departure in the progress of music – any music". Literary critic Richard Poirier wrote a laudatory appreciation of the Beatles in the journal Partisan Review and said that "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century." In his December 1967 column for Esquire, Robert Christgau described Sgt. Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". Sociocultural influence Contemporary youth and counterculture In the wake of Sgt. Pepper, the underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". In Moore's description, the album "seems to have spoken (in a way no other has) for its generation". An educator referenced in a July 1967 New York Times article was reported to have said on the topic of music studies and its relevance to the day's youth: "If you want to know what youths are thinking and feeling... you cannot find anyone who speaks for them or to them more clearly than the Beatles." Sgt. Pepper was the focus of much celebration by the counterculture. American Beat poet Allen Ginsberg said of the album: "After the apocalypse of Hitler and the apocalypse of the Bomb, there was here an exclamation of joy, the rediscovery of joy and what it is to be alive." The American psychologist and counterculture figure Timothy Leary labelled the Beatles "avatars of the new world order" and said that the LP "gave a voice to the feeling that the old ways were over" by stressing the need for cultural change based on a peaceful agenda. According to author Michael Frontani, the Beatles "legitimiz[ed] the lifestyle of the counterculture", just as they did popular music, and formed the basis of Jann Wenner's scope on these issues when launching Rolling Stone magazine in late 1967. Further to Lennon wearing an Afghan sheepskin coat at the album launch party, "Afghans" became a popular garment among hippies, and Westerners increasingly sought out the coats on the hippie trail in Afghanistan. McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. Vice-president Spiro Agnew contended that the "friends" referred to in "With a Little Help from My Friends" were "assorted drugs". As part of an escalating national debate that triggered an investigation by the US Congress, he launched a campaign in 1970 to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock artists. In the UK, according to historian David Simonelli, the album's obvious drug allusions inspired a hierarchy within the youth movement for the first time, based on listeners' ability to "get" psychedelia and align with the elite notion of Romantic artistry. Harrison was eager to separate the message of "Within You Without You" from the LSD experience, telling an interviewer: "It's nothing to do with pills... It's just in your own head, the realisation." The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. In the Haight-Ashbury district of San Francisco, the recognised centre of the counterculture, Sgt. Pepper was viewed as a "code for life", according to music journalist Alan Clayson, with street people such as the Merry Band of Pranksters offering "Beatle readings". American social activist Abbie Hoffman credited the album as his inspiration for staging the attempted levitation of the Pentagon during the Mobe's anti-Vietnam War rally in October 1967. The Byrds' David Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War. Sgt. Pepper informed Frank Zappa's parody of the counterculture and flower power on the Mothers of Invention's 1968 album We're Only in It for the Money. By 1968, according to music critic Greil Marcus, Sgt. Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life. Simon Frith, in his overview of 1967 for The History of Rock, said that Sgt. Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. He added that the Velvet Underground's The Velvet Underground & Nico – an album that contrasted sharply with the Beatles' message by "offer[ing] no escape" – became more relevant in a cultural climate typified by "the Sex Pistols, the new political aggression, the rioting in the streets" during the 1970s. In a 1987 review for Q magazine, Charles Shaar Murray asserted that Sgt. Pepper "remains a central pillar of the mythology and iconography of the late '60s", while Colin Larkin states in his Encyclopedia of Popular Music: "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control." Cultural legitimisation of popular music In The Oxford Encyclopedia of British Literature, Kevin Dettmar writes that Sgt. Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art... never before had an aesthetic and technical masterpiece enjoyed such popularity." Through the level of attention it received from the rock press and more culturally elite publications, the album achieved full cultural legitimisation for pop music and recognition for the medium as a genuine art form. Riley says that pop had been due this accreditation "at least as early as A Hard Day's Night" in 1964. He adds that the timing of the album's release and its reception ensured that "Sgt. Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance – it's the Beatles' 'Mona Lisa'." At the 10th Annual Grammy Awards in March 1968, Sgt. Pepper won awards in four categories: Album of the Year; Best Contemporary Album; Best Engineered Recording, Non-Classical; and Best Album Cover, Graphic Arts. Its win in the Album of the Year category marked the first time that a rock LP had received this honour. Among the recognised composers who helped legitimise the Beatles as serious musicians at the time were Luciano Berio, Aaron Copland, John Cage, Ned Rorem and Leonard Bernstein. According to Rodriguez, an element of exaggeration accompanied some of the acclaim for Sgt. Pepper, with particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". In Gendron's view, the cultural approbation represented American "highbrow" commentators (Rorem and Poirier) looking to establish themselves over their "low-middlebrow" equivalent, after Time and Newsweek had led the way in recognising the Beatles' artistry, and over the new discipline of rock criticism. Gendron describes the discourse as one whereby, during a period that lasted for six months, "highbrow" composers and musicologists "jostl[ed] to pen the definitive effusive appraisal of the Beatles". Aside from the attention afforded the album in literary and scholarly journals, the American jazz magazines Down Beat and Jazz both began to cover rock music for the first time, with the latter changing its name to Jazz & Pop as a result. In addition, following Sgt. Pepper, established American publications such as Vogue, Playboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism. Writing for Rolling Stone in 1969, Michael Lydon said that reviewers had had to invent "new criticism" to match pop's musical advances, since: "Writing had to be an appropriate response to the music; in writing about, say, Sgt. Pepper, you had to try to write something as good as Sgt. Pepper. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record." Through its acceptance by "serious" composers, according to Schaffner, Sgt. Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. In 1977, the LP won Best British Album at the inaugural Brit Awards, held by the BPI to celebrate the best British music of the last 25 years as part of Elizabeth II's Silver Jubilee. When EMI issued the Beatles' catalogue on CD in 1987, Sgt. Pepper was the only album afforded a dedicated release. EMI marketed it as "the most important record ever released on compact disc". Development of popular music Industry and market changes Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition". Many acts copied the album's psychedelic sounds and imitated its production techniques, resulting in a rapid expansion of the producer's role. In this regard, Lennon and McCartney complained that Martin had received too much attention for his part in the album's creation, so beginning a feeling of resentment by the Beatles towards their longtime producer. In 1987, Anthony DeCurtis of Rolling Stone described Sgt. Pepper as the album that "revolutionized rock and roll", while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. For several years following its release, straightforward rock and roll was supplanted by a growing interest in extended form, and for the first time in the history of the music industry, sales of albums outpaced those of singles. In Gould's description, Sgt. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of 1956 and the Beatlemania phenomenon of 1963". The music industry swiftly grew into a billion-dollar enterprise, although record company executives were blindsided by the appeal of new acts who defied established formulas. Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of 20-minute album sides, taking a journey led by the artist". In Moore's view, the album was "pivotal" in heralding "the realignment of rock from its working-class roots to its subsequent place on the college circuit", as students increasingly embraced the genre and record companies launched labels targeted towards this new market. As another result of Sgt. Pepper, US record companies no longer altered the content of albums by major British acts such as the Rolling Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. Albums and artistry According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns. In the US, the album paved the way for British groups such as Pink Floyd and the Incredible String Band, whose work echoed the eclectic, mystical and escapist qualities of Sgt. Pepper. Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Among the many LPs influenced by Sgt. Pepper were Jefferson Airplane's After Bathing at Baxter's, the Rolling Stones' Their Satanic Majesties Request and the Moody Blues' Days of Future Passed, all released in 1967; and the Zombies' Odessey and Oracle, the Small Faces' Ogdens' Nut Gone Flake and the Pretty Things' S.F. Sorrow, all issued the following year. All rock albums were subsequently measured against Sgt. Pepper. Discussing Their Satanic Majesties Request, Wenner referred to "the post–Sgt. Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles." The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music". Bley spent four years crafting her musical response to Sgt. Pepper – the 1971 avant-jazz triple album Escalator Over the Hill – which combined rock, Indo-jazz fusion and chamber jazz. Roger Waters cited Sgt. Pepper as his influence when Pink Floyd created their 1973 album The Dark Side of the Moon, saying: "I learned from Lennon, McCartney and Harrison that it was OK for us to write about our lives and express what we felt... More than any other record it gave me and my generation permission to branch out and do whatever we wanted." Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper". In this regard, Mojo magazine recognises Prince's Around the World in a Day (1985), Tears for Fears' The Seeds of Love (1989), Smashing Pumpkins' Mellon Collie and the Infinite Sadness (1995), Radiohead's OK Computer (1997), Oasis' Be Here Now (1997) and the Flaming Lips' The Soft Bulletin (1999) as albums that "for better or for worse... would not have existed" without Sgt. Pepper. Writing for Mojo in 2007, John Harris said that the album's influence resonates in the "identity games" of Gnarls Barkley, in the ambitious song cycle of Green Day's 2004 album American Idiot, in the respect afforded adventurous musicians such as Damon Albarn and Wayne Coyne, and particularly in the audience's expectation that foremost artists will "progress" and perhaps "ascend to a watershed point at which influence, experience and ambition cohere into something that just might blow our minds". Stylistic developments Sgt. Pepper was highly influential on bands in the US acid rock (or psychedelic rock) scene. Lavezzoli views it as a key factor in 1967's standing as the "annus mirabilis" for Indian classical music's acceptance in the West, with the genre having been fully absorbed into psychedelic music. Sgt. Pepper is commonly recognised as having originated progressive rock, due to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks. In addition to influencing Pink Floyd records such as Atom Heart Mother, it was a source of inspiration for Robert Fripp when he formed King Crimson. The band's 1969 debut In the Court of the Crimson King was intended as a homage to Sgt. Pepper. MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". According to author Martina Elicker, despite earlier examples, it was Sgt. Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Further to Sgt. Pepper, musicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments. It also inspired rock opera works such as the Who's double album Tommy and the musical Jesus Christ Superstar. Author Carys Wyn Jones locates Pet Sounds and Sgt. Pepper as the beginning of art rock. Doyle Greene says that Sgt. Pepper provides a "crucial locus in the assemblage of popular music and avant-garde/experimental music", notwithstanding the Beatles' presentation of the latter within formal song structures. He also says that, although the band are usually viewed as modernists, the album "can be heard as a crucial postmodernist moment", through its incorporation of self-conscious artistry, irony and pastiche, and "arguably marked rock music's entry into postmodernism as opposed to high-modernism". During the 1970s, glam rock acts co-opted the Beatles' use of alter ego personas, including David Bowie when he adopted the guise of Ziggy Stardust. Graphic design Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". The cover helped to elevate album art as a respected topic for critical analysis whereby the "structures and cultures of popular music" could henceforth justify intellectual discourse in a way that – before Sgt. Pepper – would have seemed like "fanciful conceit". He writes: "[The Sgt. Pepper] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit." Sgt. Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Following the LP's release, rock acts afforded cover art greater consideration and increasingly sought to create a thematic link between their album artwork and the record's musical statements. Riley describes the cover as "one of the best-known works that pop art ever produced", while Norman calls it "the most famous album cover of all time". The Beatles' 1968 self-titled double LP became known as the White Album for its plain white sleeve, which the band chose as a contrast with the wave of psychedelic imagery and album covers inspired by Sgt. Pepper. In the late 1990s, the BBC included the Sgt. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone box, Mary Quant's miniskirt, and the Mini motorcar. Retrospective appraisal Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early 1980s. In his 1979 book Stranded: Rock and Roll for a Desert Island, Greil Marcus described Sgt. Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Marcus believed that the album "strangled on its own conceits" while being "vindicated by world-wide acclaim". Lester Bangs – the so-called "godfather" of punk rock journalism – wrote in 1981 that "Goldstein was right in his much-vilified review ... predicting that this record had the power to almost singlehandedly destroy rock and roll." He added: "In the sixties rock and roll began to think of itself as an 'art form'. Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts." In a 1976 article for The Village Voice, Christgau revisited the "supposedly epochal Works of Art" from 1967 and found that Sgt. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history". Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain." In his 1981 assessment, Simon Frith described Sgt. Pepper as "the last great pop album, the last LP ambitious to amuse everyone". Once the Beatles' catalogue became available on CD in 1987, a critical consensus formed around Revolver standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation. In his feature article on Sgt. Pepper 40th anniversary, for Mojo, John Harris said that, such was its "seismic and universal" impact and subsequent identification with 1967, a "fashion for trashing" the album had become commonplace. He attributed this to iconoclasm, as successive generations identified the album with baby boomers' retreat into "nostalgia-tinged smugness" during the 1970s, combined with a general distaste for McCartney following Lennon's death. Citing its absence from the NME best-albums list in 1985 after it had topped the magazine's previous poll, in 1974, Harris wrote: Though by no means universally degraded... Sgt. Pepper had taken a protracted beating from which it has perhaps yet to fully recover. Regularly challenged and overtaken in the Best Beatle Album stakes... it suffered more than any Beatles record from the long fall-out after punk, and even the band's Britpop-era revival mysteriously failed to improve its standing. Writing in the 2004 edition of The Rolling Stone Album Guide, Rob Sheffield described Sgt. Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". In his review for Rough Guides, Chris Ingham said that, while the album's detractors typically bemoan McCartney's dominant role, the reliance on studio innovation, and the unconvincing concept, "as long as there are pairs of ears willing to disappear under headphones for forty minutes... Sgt. Pepper will continue to cast its considerable spell." Among reviews of the 2009 remastered album, Neil McCormick of The Daily Telegraph wrote: "It is impossible to overstate its impact: from a contemporary Sixties perspective it was utterly mind-blowing and original. Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time." Mark Kemp, writing for Paste, said the album was a "blast of avant-rock genius" but also "one of rock's most overrated albums". According to BBC Music critic Chris Jones, while Sgt. Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole... These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along." Although the lyrics, particularly McCartney's, were "a far cry from the militancy of their American peers", he continues, "what was revolutionary was the sonic carpet that enveloped the ears and sent the listener spinning into other realms." Stephen Thomas Erlewine of AllMusic considers the album to be a refinement of Revolver "previously unheard-of level of sophistication and fearless experimentation" and a work that combines a wide range of musical styles yet "Not once does the diversity seem forced". He concludes: "After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." Legacy Further public and critical recognition Sgt. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records. With certified sales of 5.1 million copies in the UK, as of April 2019, Sgt. Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. It is one of the most commercially successful albums in the US, where the RIAA certified sales of 11 million copies in 1997. By 2000, Sgt. Pepper was among the top 20 best-selling albums of all time worldwide. As of 2011, it had sold more than 32 million copies worldwide, making it one of the highest-selling albums of all time. Sgt. Pepper has topped many "best album" lists. It was voted in first place in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums, based on submissions from around 50 British and American critics and broadcasters including Christgau and Marcus, and again in the 1987 edition. In the latter year, it also topped Rolling Stone list of "The 100 Best Albums of the Last Twenty Years". In 1994, it was ranked first in Colin Larkin's All Time Top 1000 Albums. It was voted best album of all time in the 1998 "Music of the Millennium" poll conducted by HMV and Channel 4, and in the following year's expanded survey, which polled 600,000 people across the UK. Among its appearances in other critics' polls, the album was third in Q 2004 list "The Music That Changed the World" and fifth in the same magazine's 2005 list "The 40 Greatest Psychedelic Albums of All Time". In 1993, Sgt. Pepper was inducted into the Grammy Hall of Fame, and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry, honouring the work as "culturally, historically, or aesthetically significant". In 2003, Rolling Stone placed it at number one in the magazine's list of the "500 Greatest Albums of All Time", a ranking it retained in the revised list of 2012, and described the album as "the pinnacle of the Beatles' eight years as recording artists". The editors also said that Sgt. Pepper was "the most important rock 'n' roll album ever made", a point to which June Skinner Sawyers adds, in her 2006 collection of essays Read the Beatles: "It has been called the most famous album in the history of popular music. It is certainly among the most written about. It is still being written about." On Rolling Stone third such list, published in September 2020, Sgt. Pepper appears at number 24. In 2006, Sgt. Pepper was chosen by Time as one of the 100 best albums of all time. Writing that year, Kevin Dettmar described it as "quite simply, the most important and influential rock-and-roll album ever recorded". It is featured in Chris Smith's 2009 book 101 Albums That Changed Popular Music, where Smith highlights the album among the most "obvious" choices for inclusion due to its continued commercial success, the wealth of imitative works it inspired, and its ongoing recognition as "a defining moment in the history of music". In the NME 2014 article "25 Albums With the Most Incredible Production", Emily Barker described Sgt. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since". Adaptations, tributes and anniversary projects The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. The album inspired the 1974 off-Broadway musical Sgt. Pepper's Lonely Hearts Club Band on the Road, directed by Tom O'Horgan, and the 1978 film Sgt. Pepper's Lonely Hearts Club Band, produced by Robert Stigwood. In July 2012, athletes donned Sgt. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Sgt. Pepper has been the subject of many tribute albums, including a multi-artist CD available with the March 2007 issue of Mojo and a 2009 live album, Sgt. Pepper Live, by Cheap Trick. Other tribute recordings include Sgt. Pepper Knew My Father, a multi-artist charity compilation released by the NME in 1988; Big Daddy's 1992 album Sgt. Pepper's, which Moore recognises as "the most audacious" of all the interpretations of the Beatles' LP up to 1997; and the Flaming Lips' With a Little Help from My Fwends, released in 2014. BBC Radio 2 broadcast Sgt. Pepper's 40th Anniversary in June 2007. The programme contained new versions of the songs by artists such as Oasis, the Killers and Kaiser Chiefs, produced by Emerick using EMI's original four-track recording equipment. The 1987 CD release attracted considerable media interest and coincided with a Granada TV documentary, It Was Twenty Years Ago Today, that located the album at the centre of the Summer of Love. The reissue peaked at number three on the UK Albums Chart and topped Billboard CDs chart. The album's 25th anniversary was observed with The South Bank Show presentation of Martin's TV documentary The Making of Sgt. Pepper, which included interviews with the three surviving Beatles. Although there was no official campaign for the 30th anniversary, BBC Radio 2 broadcast Pepper Forever in the UK and some 12,000 schools across the US listened to a radio special dedicated to the album on 2 June 1997. Aside from Radio 2's June 2007 project, the 40th anniversary was marked by the University of Leeds hosting a meeting of British and American commentators to debate the extent of the album's social and cultural impact. On 26 May 2017, Sgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. The first CD contains a new stereo remix of the album, created by Giles Martin using first-generation tapes rather than their subsequent mixdowns. Apple Corps produced the TV documentary Sgt. Pepper's Musical Revolution to commemorate the anniversary, which was also celebrated with posters, billboards and other decorations in cities around the world. In Liverpool, the anniversary was the focus of a three-week cultural festival that included events dedicated to each of the album's thirteen songs. As part of the festival, Mark Morris choreographed Pepperland to four of the songs from Sgt. Pepper and "Penny Lane", arranged by Ethan Iverson, plus six original compositions by Iverson, and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. The 50th anniversary edition of Sgt. Pepper topped the UK Albums Chart. Track listing All songs written by Lennon–McCartney, except "Within You Without You" by George Harrison. Track lengths and lead vocals per Mark Lewisohn and Ian MacDonald. Personnel According to Mark Lewisohn and Ian MacDonald, except where noted: The Beatles John Lennon – lead, harmony and background vocals; rhythm, acoustic and lead guitars; Hammond organ, final piano E chord; harmonica, tape loops, sound effects, comb and tissue paper; handclaps, tambourine, maracas Paul McCartney – lead, harmony and background vocals; bass and lead guitars; piano, grand piano, Lowrey and Hammond organs; handclaps; vocalisations, sound effects, comb and tissue paper George Harrison – harmony and background vocals; lead, rhythm and acoustic guitars; sitar, tambura, swarmandal; harmonica, comb and tissue paper; handclaps, tambourine, maracas; lead vocals on "Within You Without You" Ringo Starr – drums, congas, tambourine, maracas, handclaps, tubular bells; lead vocals on "With a Little Help from My Friends"; harmonica, comb and tissue paper; final piano E chord Additional musicians and production Sounds Inc. – saxophones, trombones and French horn on "Good Morning Good Morning" Neil Aspinall – tambura, harmonica Geoff Emerick – audio engineering; tape loops, sound effects Mal Evans – counting, harmonica, alarm clock, final piano E chord George Martin – producer, mixer; tape loops, sound effects; harpsichord on "Fixing a Hole", harmonium, Lowrey organ, glockenspiel and Mellotron on "Being for the Benefit of Mr. Kite!", Hammond organ on "With a Little Help from My Friends", piano on "Getting Better", piano solo on "Lovely Rita"; final harmonium chord. Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band": Neill Sanders, James W. Buck, John Burden, Tony Randall, arranged and conducted by Martin and McCartney; string section and harp on "She's Leaving Home", arranged by Mike Leander and conducted by Martin; tabla by Natwar Soni, dilrubas by Anna Joshi and Amrit Gajjar, and tambura by Buddhadev Kansara on "Within You Without You", with eight violins and four cellos arranged and conducted by Harrison and Martin; clarinet trio on "When I'm Sixty-Four": Robert Burns, Henry MacKenzie, Frank Reidy, arranged and conducted by Martin and McCartney; saxophones on "Good Morning Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra, including strings, brass, woodwinds and percussion on "A Day in the Life", arranged by Martin, Lennon and McCartney, and conducted by Martin and McCartney. Charts Weekly charts Year-end charts Decade-end charts Certifications and sales Notes References Bibliography Further reading Available at Rock's Backpages (subscription required). External links 1967 albums The Beatles albums Parlophone albums Capitol Records albums Albums produced by George Martin Albums arranged by George Martin Albums arranged by Mike Leander Albums arranged by Paul McCartney Albums arranged by George Harrison Albums conducted by George Martin Albums conducted by Paul McCartney Albums with cover art by Peter Blake (artist) Grammy Award for Album of the Year Grammy Award for Best Pop Vocal Album Grammy Award for Best Engineered Album, Non-Classical Brit Award for British Album of the Year United States National Recording Registry recordings Recorded music characters Fictional sergeants Fictional musical groups Concept albums Psychedelic music albums by English artists Art rock albums by English artists Baroque pop albums Proto-prog albums United States National Recording Registry albums	false	[ "Casing the Promised Land is a novel written by the American novelist Caleb Carr. Published by Harper & Row in 1980, it was Carr's first published book (he had already published several non-fiction newspaper and magazine pieces). Acknowledging the amateur nature of the work, in 1999, Caleb Carr posted the following notice on Amazon.com: \"I am the author of this book. It has a few good scenes, but is essentially \"roman à clef\" nonsense that every writer has to get out of his system early on. Do yourself a favor and read ANYTHING else I've written (you'll be doing me a favor, too). Forgive the follies of youth.\"\n\nExternal links\n Amazon.com page\n\nNovels by Caleb Carr\n1980 American novels\nRoman à clef novels\nHarper & Row books\n1980 debut novels", "\"If You Can Do Anything Else\" is a song written by Billy Livsey and Don Schlitz, and recorded by American country music artist George Strait. It was released in February 2001 as the third and final single from his self-titled album. The song reached number 5 on the U.S. Billboard Hot Country Singles & Tracks chart in July 2001. It also peaked at number 51 on the U.S. Billboard Hot 100.\n\nContent\nThe song is about man who is giving his woman the option to leave him. He gives her many different options for all the things she can do. At the end he gives her the option to stay with him if she really can’t find anything else to do. He says he will be alright if she leaves, but really it seems he wants her to stay.\n\nChart performance\n\"If You Can Do Anything Else\" debuted at number 60 on the U.S. Billboard Hot Country Singles & Tracks for the week of March 3, 2001.\n\nYear-end charts\n\nReferences\n\n2001 singles\n2000 songs\nGeorge Strait songs\nSongs written by Billy Livsey\nSongs written by Don Schlitz\nSong recordings produced by Tony Brown (record producer)\nMCA Nashville Records singles" ]
[ "La Monte Young", "Influences" ]	C_67ab24a3da444f78a7e04785bc01d082_0	Did he have any influences?	1	Did La Monte Young have any influences?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	Jazz is one of his main influences	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	true	[ "John Wesley \"Dick\" Summers (1887-1976) was an old-time fiddler from Indiana. He learned to play from his family, but a Tom Riley of Kentucky was also an influence. Summers did not originally read music, but did learn to do so in his 70s. He was one of the only old-time Midwestern fiddlers to have a commercially distributed album in the post-World War II era. As indicated though his style had Southern, and as mentioned Kentucky, influences.\n\nReferences\n\nOld-time fiddlers\nMusicians from Indiana\n1887 births\n1976 deaths\nPlace of birth missing\n20th-century violinists", "The Gurus were an American psychedelic rock band from the 1960s. They were among the first to incorporate Middle Eastern influences, maybe more than any other band of that era. The band broke up without making a large impact on the music scene of the time, although they did release two singles on United Artists Records in 1966 and 1967. Their album, The Gurus Are Hear, failed to be released in 1967, which was noted as the reason for the band splitting up.\n\nThe album was finally released in 2003.\n\nReferences\n\nAmerican psychedelic rock music groups" ]
[ "La Monte Young", "Influences", "Did he have any influences?", "Jazz is one of his main influences" ]	C_67ab24a3da444f78a7e04785bc01d082_0	What other influences did he have?	2	What other influences did La Monte Young have aside from jazz?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	La Monte Young discovered Indian music in 1957 on the campus of UCLA.	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	true	[ "Ladilla Rusa is a Spanish musical group formed in 2017 and originally from Montcada i Reixac, which is a municipality of the Province of Barcelona.\n\nHistory\nTania Lozano and Víctor F. Clares, originally from Moncada y Reixach, friends since childhood and journalists by training, decided in 2017 to create a musical duo, initially as a joke. Their style has influences of electropop, Catalan rumba and other influences from the Barcelona periphery, in what has been dubbed as \"charnego pride. They have played at the Sonorama and Arenal Sound festivals.\n\nDiscography\nEstado del Malestar. La Mundial Records (2018).\n\nReferences\n\nExternal links\n Official website\n\nSpanish musical groups", "John Wesley \"Dick\" Summers (1887-1976) was an old-time fiddler from Indiana. He learned to play from his family, but a Tom Riley of Kentucky was also an influence. Summers did not originally read music, but did learn to do so in his 70s. He was one of the only old-time Midwestern fiddlers to have a commercially distributed album in the post-World War II era. As indicated though his style had Southern, and as mentioned Kentucky, influences.\n\nReferences\n\nOld-time fiddlers\nMusicians from Indiana\n1887 births\n1976 deaths\nPlace of birth missing\n20th-century violinists" ]
[ "La Monte Young", "Influences", "Did he have any influences?", "Jazz is one of his main influences", "What other influences did he have?", "La Monte Young discovered Indian music in 1957 on the campus of UCLA." ]	C_67ab24a3da444f78a7e04785bc01d082_0	How did he discover Indian music?	3	How did La Monte Young discover Indian music?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	on the campus of UCLA.	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	true	[ "Jagannathakam is a 2015 Telugu-language, thriller drama film, produced by Aadi Sesha Reddy Indupuru Rao under the banner Chitrasouda and directed by Pradeep Nandan. It stars Sridhar, Khenisha Chandran, Pradeep Nandan, Abhinav Gomatam, Sivaji Raja and music composed by Ajay Arasada and movie was released on 13 March 2015.\n\nPlot\nPrudhvi (Pradeep Nandan) is a cheerful guy who lives with his father and sister (Umasri). His only goal in life is to become an actor. One day he comes across Bhanu (Khenisha Chandran) and falls flat for her. As time passes, even Bhanu accept his love and the couple spend some happy times together. When everything seems to go well, he gets a huge break from acting in a big budget film. Exalted with that, Prudhvi organizes a party for all his friends. Partying, Prudhvi receives dreaded call that her father died. He quickly rushed home only to discover that her sister was kidnapped. What happened to his sister? How is his father's death? and How does Prudhvi solve all his problems ? is the rest of the film.\n\nCast\nSridhar as Prudhvi \nKhenisaa Chandran as Bhanu\nPradeep Nandan\nAbhinav Gomatam\nSivaji Raja as Police Officer\nUsha Sri as Divya\nKiran\nKedhar Shankar\nAvinash as Banti\n\nSoundtrack\n\nReferences\n\nExternal links\n\nIndian films\n2015 thriller drama films", "Time Please is a Marathi film released on 26 July 2013. This film is directed by Sameer Vidwans and produced by Pratisaad Productions & 24 Carat Entertainment.\n\nCast \nThe film stars Umesh Kamat, Priya Bapat, Sai Tamhankar, Siddharth Jadhav, Vandana Gupte & Others.\n\nSynopsis \nAmruta, 24 is a bubbly girl who's married to Hrishi, 30, a matured man. She is lively and loud while he is composed and subtle. Just after the marriage they start to discover the differences between their liking, expressions and views. The real drama starts when Hrishi's colleague Radhika and Amruta's childhood buddy Himmatrao come in the picture.\n\nInstantly the game of love, care, transparency and insecurities start. Undergoing this phase, they learn about their reactions. They understand how some small moments of truth, faith, anger and realization make huge differences to any relationship.\n\nSoundtrack\nThe music has been directed by Hrishikesh Kamerkar, while the lyrics have been provided by Kshitij Patwardhan.\n\nTrack listing\n\nReferences \n\nIndian films\n2013 films\n2010s Marathi-language films" ]
[ "La Monte Young", "Influences", "Did he have any influences?", "Jazz is one of his main influences", "What other influences did he have?", "La Monte Young discovered Indian music in 1957 on the campus of UCLA.", "How did he discover Indian music?", "on the campus of UCLA." ]	C_67ab24a3da444f78a7e04785bc01d082_0	Did he have other influences?	4	Did La Monte Young have other influences aside from jazz and Indian music?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	Young also acknowledges the influence of Japanese music,	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	true	[ "John Wesley \"Dick\" Summers (1887-1976) was an old-time fiddler from Indiana. He learned to play from his family, but a Tom Riley of Kentucky was also an influence. Summers did not originally read music, but did learn to do so in his 70s. He was one of the only old-time Midwestern fiddlers to have a commercially distributed album in the post-World War II era. As indicated though his style had Southern, and as mentioned Kentucky, influences.\n\nReferences\n\nOld-time fiddlers\nMusicians from Indiana\n1887 births\n1976 deaths\nPlace of birth missing\n20th-century violinists", "In mass communication, the Hierarchy of Influences, formally known as the Hierarchical Influences Model, is an organized theoretical framework introduced by Pamela Shoemaker & Stephen D. Reese. It comprises five levels of influence on media content from the macro to micro levels: social systems, social institutions, media organizations, routine practices, and individuals. This framework was introduced in their book Mediating the Message: Theories of Influences on Mass Media Content.\n\nFive levels of Hierarchy of Influences \n\nThe framework was proposed in response to what the scholars believed was an over-emphasis on media processes and effects research. The HOI model instead made the content produced by news media the dependent variable in research studies, influenced by factors located within the hierarchical framework. From a media sociology perspective, the framework \"takes into account the multiple forces that simultaneously impinge on media and suggests how influence at one level may interact with that at another.\" Whereas most media effects study treat media content as independent variable to understand how audience use media content and how they are influenced by media content, \"Hierarchy of Influences\" framework treats media content as dependent variable and five levels of influences as potential independent variables.\n\nOverall, the framework provides a way to understand the \"media and their links with culture, other organizations, and institutions.\"\n\nSocial systems \n\nThe macro social systems level is the outer-most ring of the model that represent the influences from social systems as a whole. This level focus on how ideological forces shape and influence media content. For this reason, it is often employed in cross-national comparative media studies.\n\nSocial institutions \n\nSocial institutional level describes influences coming from larger trans-organizational media field. How media organizations combine into larger institutions that become part of larger structured relationships that compete or depend on each other as powerful social institutions.\n\nMedia organizations \n\nMedia organization level is distinguished from routines as this level describes larger organizational and occupational context such as organizational policy, occupational roles, and how the media enterprise itself is structured.\n\nRoutine practices \n\nThe routines level has three sources of routines, which constrain and enable communicators in their work process: audiences, organizations, and suppliers of content. Journalists have developed routines from endless pattern of norms in response to common situations. This level is where Mr. Gates or gatekeeping (communication) theory is also applied in journalists' appearance\n\nIndividuals \n\nThe micro individual level is located at the center of the model. On this level, individual communicator's characteristics, on both personal and professional, influence media content. Individual's innate characteristics such as gender, race, religious and political background influence media content indirectly through shaping personal attitude and values (e.g. ethical values) as well as professional roles and education.\n\nResearch \n\nHierarchy of influences model has been employed as theoretical framework to explain different levels of influences on media content. Researchers have studied professionalism, journalistic roles, cross-national comparative journalistic roles, comparative media studies, and understanding news production to name a few of closely studies areas.\n\nThomas Hanitzsch took a similar approach to hierarchy of influences model in examining different levels of influences on journalists' reporting process in his Worlds of Journalism study. This study conducted interviews in 21 countries focusing on differences in journalism culture, influences and trust in public institutions.\n\nReferences \n\nMass media theories\nMedia studies" ]
[ "La Monte Young", "Influences", "Did he have any influences?", "Jazz is one of his main influences", "What other influences did he have?", "La Monte Young discovered Indian music in 1957 on the campus of UCLA.", "How did he discover Indian music?", "on the campus of UCLA.", "Did he have other influences?", "Young also acknowledges the influence of Japanese music," ]	C_67ab24a3da444f78a7e04785bc01d082_0	Are there any other interesting aspects about this article?	5	Are there any other interesting aspects about this article aside from La Monte Young's jazz and Indian music influences?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	also keen to pursue his musical endeavors with the help of psychedelics.	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	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" ]
[ "La Monte Young", "Influences", "Did he have any influences?", "Jazz is one of his main influences", "What other influences did he have?", "La Monte Young discovered Indian music in 1957 on the campus of UCLA.", "How did he discover Indian music?", "on the campus of UCLA.", "Did he have other influences?", "Young also acknowledges the influence of Japanese music,", "Are there any other interesting aspects about this article?", "also keen to pursue his musical endeavors with the help of psychedelics." ]	C_67ab24a3da444f78a7e04785bc01d082_0	How did pschedelics help?	6	How did psychedelics help La Monte Young pursue his musical endeavors?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way.	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	false	[ "A human-to-computer user interface is said to be \"reactive\" if it has the following characteristics:\n\nThe user is immediately aware of the effect of each \"gesture\". Gestures can be keystrokes, mouse clicks, menu selections, or more esoteric inputs.\nThe user is always aware of the state of his/her data. Did I just save those changes? Did I just overwrite my backup by mistake? No data is hidden. In a figure-drawing program, the user can tell whether a line segment is composed of smaller segments.\nThe user always knows how to get help. Help may be context-sensitive or modal, but it is substantial. A program with a built-in help browser is not reactive if its content is just a collection of screen shots or menu item labels with no real explanation of what they do.\n\nReactivity was a major goal in the early user interface research at MIT and Xerox PARC.\nA computer program which was not reactive would not be considered user friendly no matter how elaborate its presentation.\n\nEarly word-processing programs whose on-screen representations look nothing like their printer output could be reactive. The common example was WordStar on CP/M. On-screen, it looked like a markup language in a character cell display, but it had deep built-in help which was always available from an on-screen menu bar, and the effect of each keystroke was obvious.\n\nUser interfaces", "My Hero 2 (一本漫畫闖天涯2之妙想天開) is a 1993 Hong Kong comedy film directed by Joe Chu, starring Dicky Cheung and Ng Man Tat. Despite the title, it is not a sequel to the movie \"My Hero (1990)\", starring Stephen Chow.\n\nSynopsis\nThe movie is about Cheung Kin-Hong's (Dicky Cheung) ploy to get a good story involving triads for his comics. He is a comics artist and writer who has not been very successful in the past. Then one day he encounters his hero, Brother Tat (Ng Man-Tat) at his regular cafe. He manages to convince Tat, who happens to be also involved with the triads, to help him get the information he needed for his comics. How did it turn out? Did it help him to succeed?\n\nCast\n\nExternal links\n \n My Hero 2 (1993) at HKCinemagic\n \n\n1990s Cantonese-language films\nHong Kong films\n1993 comedy films\n1993 films\nHong Kong comedy films" ]
[ "La Monte Young", "Influences", "Did he have any influences?", "Jazz is one of his main influences", "What other influences did he have?", "La Monte Young discovered Indian music in 1957 on the campus of UCLA.", "How did he discover Indian music?", "on the campus of UCLA.", "Did he have other influences?", "Young also acknowledges the influence of Japanese music,", "Are there any other interesting aspects about this article?", "also keen to pursue his musical endeavors with the help of psychedelics.", "How did pschedelics help?", "It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way." ]	C_67ab24a3da444f78a7e04785bc01d082_0	Did that make for any interesting experiences?	7	Did La Monte Young's use of psychedelics make for any interesting experiences?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars.	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	true	[ "Peter Clarke (19 May 1881 – 14 December 1915) was an Irish cricketer. A right-handed batsman and leg-break bowler, he had a brief, but interesting, career.\n\nIn May 1912 he was plucked from virtual obscurity to make his first-class debut in a Test trial match for the England cricket team. He was not selected for the England team, but did play for Ireland against South Africa later that same year. This match was his only match for Ireland.\n\nFollowing this, he played several first-class matches for the MCC and Middlesex throughout 1913 and 1914, before he died in Dublin in December 1915.\n\nReferences\n\n1881 births\n1915 deaths\nIrish cricketers\nMarylebone Cricket Club cricketers\nMiddlesex cricketers\nWoodbrook Club and Ground cricketers", "The name Blanca has been used for eleven tropical cyclones in the Eastern Pacific Ocean.\n\n Hurricane Blanca (1966), never affected land, travelled 4,300 miles during its lifetime.\n Tropical Storm Blanca (1970), did not make landfall.\n Tropical Storm Blanca (1974), did not make landfall.\n Tropical Storm Blanca (1979), did not make landfall.\n Hurricane Blanca (1985), did not affect any land.\n Tropical Storm Blanca (1991), did not cause any casualties or damages.\n Tropical Storm Blanca (1997), did not cause any major damage or casualties.\n Tropical Storm Blanca (2003), did not have any effects on land.\n Tropical Storm Blanca (2009), did not make landfall, but contributed to flooding in Mexico.\n Hurricane Blanca (2015), Category 4 hurricane, made landfall in the Baja California Peninsula as a tropical storm.\n Tropical Storm Blanca (2021), did not affect any land.\n\nPacific hurricane disambiguation pages" ]
[ "La Monte Young", "Influences", "Did he have any influences?", "Jazz is one of his main influences", "What other influences did he have?", "La Monte Young discovered Indian music in 1957 on the campus of UCLA.", "How did he discover Indian music?", "on the campus of UCLA.", "Did he have other influences?", "Young also acknowledges the influence of Japanese music,", "Are there any other interesting aspects about this article?", "also keen to pursue his musical endeavors with the help of psychedelics.", "How did pschedelics help?", "It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way.", "Did that make for any interesting experiences?", "sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars." ]	C_67ab24a3da444f78a7e04785bc01d082_0	Did he have any non musicical influences?	8	Did La Monte Young have any non musical influences?	La Monte Young	Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds--human-made as well as natural--fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Bela Bartok, Igor Stravinsky, Perotin, Leonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: These tools can be used to your advantage if you're a master of [them]... If used wisely - the correct tool for the correct job - they can play an important role... It allows you to go within yourself and focus on certain frequency relationships and memory relationships in a very, very interesting way. CANNOTANSWER	Continuous sounds--human-made as well as natural--fascinated him as a child.	La Monte Thornton Young (born October 14, 1935) is an American composer, musician, and artist recognized as one of the first American minimalist composers and a central figure in post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His works have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. Despite what The Guardian calls a "legendary output that has had such an outsized influence on other artists," Young has released very little recorded material throughout his career and much of it is currently out of print. Young played jazz saxophone and studied composition in California during the 1950s, and subsequently moved to New York in 1960, where he was a central figure in the downtown music and Fluxus art scenes. He then became known for his pioneering work in drone music (originally called dream music) with his Theatre of Eternal Music collective, alongside collaborators such as Tony Conrad, John Cale, and his wife, the multimedia artist Marian Zazeela. Since 1962, he has worked extensively with Zazeela, with whom he developed the Dream House sound and light environment. Beginning in 1970, he studied under Hindustani singer Pandit Pran Nath. Perhaps Young's best known work is The Well-Tuned Piano, an ongoing, improvisatory composition begun in 1964 and performed throughout subsequent decades. Biography 1935–1959 Young was born in a log cabin in Bern, Idaho. As a child he was influenced by the droning sounds of the environment, such as blowing wind and electrical transformers. During his childhood, Young's family moved several times before settling in Los Angeles, as his father searched for work. He was raised as a member of The Church of Jesus Christ of Latter-day Saints. He graduated from John Marshall High School. Young began his music studies at Los Angeles City College, and transferred to the University of California, Los Angeles (UCLA), where he received a BA in 1958. In the jazz milieu of Los Angeles, Young played with notable musicians including Ornette Coleman, Don Cherry, Billy Higgins, and Eric Dolphy. He undertook additional studies at the University of California, Berkeley from 1958 to 1960. In 1959 he attended the summer courses at the Darmstadt School under Karlheinz Stockhausen, and in 1960 relocated to New York in order to study electronic music with Richard Maxfield at the New School for Social Research. His compositions during this period were influenced by Anton Webern, Gregorian chant, Indian classical music, Japanese Gagaku, and Indonesian gamelan music. A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, taught at UCLA.) Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UC Berkeley. In 1958, he developed the Trio for Strings, originally scored for violin, viola, and cello, which would presage his work in proceeding years. The Trio for Strings has been described as an "origin point for minimalism." When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. Influenced by Cage, Young at this time took a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions. 1960–1969 Young moved to New York in 1960 and quickly developed an artistic relationship with Fluxus founder George Maciunas (who designed the book An Anthology of Chance Operations, which was edited by Young) and other members of the nascent Fluxus movement. Young curated and organized a series of concert-performances at the top floor loft of Yoko Ono at 112 Chambers Street in December of 1960 involving visual artists, musicians, dancers and composers — mixing music, visual art and performance together. During this period, Young created short, haiku-like, conceptual but dreamlike scores-texts that have become associated with Fluxus. For example, Young's Compositions 1960 includes a number of unusual actions: some of them un-performable, and so an early form of poetic conceptual art. Most examine a certain presupposition about the nature of music and art by carrying absurd Dada-like concepts to an extreme. One, Composition 1960 #10 to Bob Morris instructs: "draw a straight line and follow it" (a directive which he has said has guided his life and work since). Another instructs the performer to build a fire. Another states that "this piece is a little whirlpool out in the middle of the ocean." Another says the performer should release a butterfly into the room. Yet another challenges the performer to push a piano through a wall. Composition 1960 #7 proved especially pertinent to his future endeavors: it consisted of a B, an F#, a perfect fifth, and the instruction: "To be held for a long time." In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan Dream House, a light and sound installation conceived as a "work that would be played continuously and ultimately exist as a 'living organism with a life and tradition of its own,'" where musicians would live and create music twenty-four hours a day. He formed the music collective Theatre of Eternal Music to realize Dream House and other pieces. The group initially included calligrapher and light artist Marian Zazeela (who married Young in 1963), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela, John Cale and Tony Conrad (a former Harvard mathematics major), and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young and Zazeela's first continuous electronic sound environment was created in their loft on Church Street, New York in September 1966 with sine wave generators and light sources designed to produce a continuous installation of floating sculptures and color sources, and a series of slides entitled Ornamental Lightyears Tracery. This Dream House environment was maintained almost continuously from September 1966 to January 1970, being turned off only to listen to "other music" and to study the contrast between extended periods in it and periods of silence. Young and Zazeela worked, sang and lived in it and studied the effects on themselves and visitors. Performances were often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practiced an extended sleep-waking schedule—with "days" longer than twenty-four hours. 1970–present Beginning in 1970 interests in Asian classical music and a wish to be able to find the intervals he had been using in his work led Young to pursue studies with pandit Pran Nath. Fellow students included Zazeela, composers Terry Riley, Michael Harrison, Yoshi Wada, Henry Flynt and Catherine Christer Hennix. Young considers The Well-Tuned Piano—a permuting composition of themes and improvisations for just-intuned solo piano—to be his masterpiece. Young gave the world premiere of The Well-Tuned Piano in Rome in 1974, ten years after the creation of the piece. Previously, Young had presented it as a recorded work. In 1975, Young premiered it in New York with eleven live performances during the months of April and May. As of October 25, 1981, the date of the Gramavision recording of The Well-Tuned Piano, Young had performed the piece 55 times. In 1987, Young performed the piece again as part of a larger concert series that included many more of his works. This performance, on May 10, 1987, was videotaped and released on DVD in 2000 on Young's label, Just Dreams. Performances have exceeded six hours in length, and so far have only been documented several times. It is strongly influenced by mathematical composition as well as Hindustani classical music practice. Since the 1970s, Young and Zazeela have realized a long series of semi-permanent Dream House installations, which combine Young's just-intuned sine waves in elaborate, symmetrical configurations and Zazeela's quasi-calligraphic light sculptures. In July 1970 a model short-term Dream House was displayed to the public at the gallery Friedrich & Dahlem in Munich, Germany. Later, model Dream House environments were presented in various locations of Europe and the United States. In 1974, the two released Dream House 78' 17". From January through April 19, 2009, Dream House was installed in the Solomon R. Guggenheim Museum in New York as part of The Third Mind exhibition. A Dream House installation exists today at the MELA Foundation on 275 Church Street, New York above the couple's loft, and is open to the public. In 2002, Young, along with Marian Zazeela and senior disciple Jung Hee Choi, founded the Just Alap Raga Ensemble. This ensemble, performing Indian classical music of the Kirana gharana, merges the traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. Influences Young's first musical influence came in early childhood in Bern. He relates that "the very first sound that I recall hearing was the sound of wind blowing under the eaves and around the log extensions at the corners of the log cabin". Continuous sounds—human-made as well as natural—fascinated him as a child. He described himself as fascinated from a young age by droning sounds, such as "the sound of the wind blowing", the "60 cycle per second drone [of] step-down transformers on telephone poles", the tanpura drone and the alap of Indian classical music, "certain static aspects of serialism, as in the Webern slow movement of the Symphony Opus 21", and Japanese gagaku "which has sustained tones in it in the instruments such as the Sho". The four pitches he later named the "Dream chord", on which he based many of his mature works, came from his early age appreciation of the continuous sound made by the telephone poles in Bern. Jazz is one of his main influences and until 1956 he planned to devote his career to it. At first, Lee Konitz and Warne Marsh influenced his alto saxophone playing style, and later John Coltrane shaped Young's use of the sopranino saxophone. Jazz was, together with Indian music, an important influence on the use of improvisation in his works after 1962. La Monte Young discovered Indian music in 1957 on the campus of UCLA. He cites Ali Akbar Khan (sarod) and Chatur Lal (tabla) as particularly significant. The discovery of the tambura, which he learned to play with Pandit Pran Nath, was a decisive influence in his interest in long sustained sounds. Young also acknowledges the influence of Japanese music, especially Gagaku, and Pygmy music. La Monte Young discovered classical music rather late, thanks to his teachers at university. He cites Béla Bartók, Igor Stravinsky, Pérotin, Léonin, Claude Debussy and Organum musical style as important influences, but what made the biggest impact on his compositions was the serialism of Arnold Schoenberg and Anton Webern. Young was also keen to pursue his musical endeavors with the help of psychedelics. Cannabis, LSD and peyote played an important part in Young's life from mid-1950s onwards, when he was introduced to them by Terry Jennings and Billy Higgins. He said that "everybody [he] knew and worked with was very much into drugs as a creative tool as well as a consciousness-expanding tool". This was the case with the musicians of the Theatre of Eternal Music, with whom he "got high for every concert: the whole group". He considers that the cannabis experience helped him open up to where he went with Trio for Strings, though sometimes it proved a disadvantage when performing anything which required keeping track of the number of elapsed bars. He commented on the subject: Legacy Young's use of long tones and exceptionally high volume has been extremely influential within Young's group of associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Ben Neill, Charles Curtis, and Catherine Christer Hennix. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline." Brian Eno was similarly influenced by Young's work, calling him "the daddy of us all". In 1981, Eno referred to X for Henry Flynt by saying, "It really is a cornerstone of everything I've done since." Andy Warhol attended the 1962 première of the static composition by La Monte Young called Trio for Strings. Uwe Husslein cites film-maker Jonas Mekas, who accompanied Warhol to the Trio premiere, claiming that Warhol's static films were directly inspired by the performance. In 1963 Young had joined Warhol's musical group The Druds, a short-lived avant-garde noise music band, but finding it ridiculous, quit after the second rehearsal. In 1964 Young provided a loud minimalist drone soundtrack to Warhol's static films Kiss, Eat, Haircut, and Sleep when shown as small TV-sized projections at the entrance lobby to the third New York Film Festival held at Lincoln Center. Lou Reed's 1975 album Metal Machine Music states "Drone cognizance and harmonic possibilities vis a vis Lamont Young's Dream Music (sic)" among its "Specifications". The album Dreamweapon: An Evening of Contemporary Sitar Music by the band Spacemen 3 is influenced by La Monte Young's concept of Dream Music, evidenced by their inclusion of his notes on the jacket. In 2018, Sonic Boom of Spacemen 3, along with Etienne Jaumet of Zombie Zombie and Indian dhrupad singer Céline Wadier, released Infinite Music: A Tribute to La Monte Young. Bowery Electric dedicated the song "Postscript" on the 1996 album Beat to Young and Riley. Drone rock pioneer Dylan Carlson has stated Young's work as being a major influence to him. Young's students include senior disciple Jung Hee Choi, as well as Michael Harrison, Arnold Dreyblatt and Daniel James Wolf. Discography Studio recordings Drift Study 4:37:40-5:09:50 PM 5 VIII 68 NYC (SMS 4 Limited Edition, 1968) 31 VII 69 10:26-10:49 PM / 23 VIII 64 2:50:45-3:11 AM The Volga Delta [aka The Black Record] – La Monte Young & Marian Zazeela (Edition X, 1969) Dream House 78' 17" – La Monte Young / Marian Zazeela / The Theatre of Eternal Music (Shandar, 1974) The Second Dream of the High-Tension Line Stepdown Transformer from the Four Dreams of China (Gramavision, 1991) The Tamburas of Pandit Pran Nath – La Monte Young / Marian Zazeela (Just Dreams, 1999) Inside the Dream Syndicate, Volume One: Day of Niagara (1965) – John Cale, Tony Conrad, Angus MacLise, La Monte Young, Marian Zazeela (Table of the Elements, 2000. Not authorized by La Monte Young.) Live recordings The Well-Tuned Piano 81 X 25 (6:17.50–11:18:59 pm NYC) (Gramavision, 1988) Just Stompin': Live at The Kitchen – La Monte Young and the Forever Bad Blues Band (Gramavision, 1993) Trio for Strings (1958) recorded live at the Dia:Chelsea Dream House, performed by Theatre of Eternal Music String Ensemble, four discs and a 32-page set of liner notes (Dia Art Foundation, 2022) Compilation appearances Small Pieces (5) for String Quartet ("On Remembering a Naiad") (1956) [included on Arditti String Quartet Edition, No. 15: U.S.A. (Disques Montaigne, 1993)] Sarabande for any instruments (1959) [included on Just West Coast (Bridge, 1993)] "89 VI 8 c. 1:45–1:52 am Paris Encore" from Poem for Tables, Chairs and Benches, etc. (1960) [included on Flux: Tellus Audio Cassette Magazine #24] Excerpt "31 I 69 c. 12:17:33-12:24:33 pm NYC" [included on Aspen #8's flexi-disc (1970)] from Drift Study; "31 I 69 c. 12:17:33–12:49:58 pm NYC" from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals (1969) [included on Ohm and Ohm+ (Ellipsis Arts, 2000 & 2005)] 566 for Henry Flynt [included on Music in Germany 1950–2000: Experimental Music Theatre (Eurodisc 173675, 7-CD set, 2004)] List of works Scherzo in a minor (c. 1953), piano; Rondo in d minor (c. 1953), piano; Annod (1953–55), dance band or jazz ensemble; Wind Quintet (1954); Variations (1955), string quartet; Young's Blues (c. 1955–59); Fugue in d minor (c. 1956), violin, viola, cello; Op. 4 (1956), brass, percussion; Five Small Pieces for String Quartet, On Remembering A Naiad, 1. A Wisp, 2. A Gnarl, 3. A Leaf, 4. A Twig, 5. A Tooth (1956); Canon (1957), any two instruments; Fugue in a minor (1957), any four instruments; Fugue in c minor (1957), organ or harpsichord; Fugue in eb minor (1957), brass or other instruments; Fugue in f minor (1957), two pianos; Prelude in f minor (1957), piano; Variations for Alto Flute, Bassoon, Harp and String Trio (1957); for Brass (1957), brass octet; for Guitar (1958), guitar; Trio for Strings (1958), violin, viola, cello; Study (c.1958–59), violin, viola (unfinished); Sarabande (1959), keyboard, brass octet, string quartet, orchestra, others; Studies I, II, and III (1959), piano; Vision (1959), piano, 2 brass, recorder, 4 bassoons, violin, viola, cello, contrabass and making use of a random number book; [Untitled] (1959–60), live friction sounds; [Untitled] (1959–62), jazz-drone improvisations; Poem for Chairs, Tables, Benches, etc. (1960), chairs, tables, benches and unspecified sound sources; 2 Sounds (1960), recorded friction sounds; Compositions 1960 #s 2, 3, 4, 5, 6, 7, 9, 10, 13, 15 (1960), performance pieces; Piano Pieces for David Tudor #s 1, 2, 3 (1960), performance pieces; Invisible Poem Sent to Terry Jennings (1960), performance pieces; Piano Pieces for Terry Riley #s 1, 2 (1960), performance pieces; Target for Jasper Johns (1960), piano; Arabic Numeral (Any Integer) to H.F. (1960), piano(s) or gong(s) or ensembles of at least 45 instruments of the same timbre, or combinations of the above, or orchestra; Compositions 1961 #s 1–29 (1961), performance pieces; Young's Dorian Blues in B (c. 1960 or 1961); Young's Dorian Blues in G (c. 1960/1961–present); Young's Aeolian Blues in B (Summer 1961); Death Chant (1961), male voices, carillon or large bells; Response to Henry Flynt Work Such That No One Knows What's Going On (c. 1962); [Improvisations] (1962–64), sopranino saxophone, vocal drones, various instruments. Realizations include: Bb Dorian Blues, The Fifth/Fourth Piece, ABABA, EbDEAD, The Overday, Early Tuesday Morning Blues, and Sunday Morning Blues; Poem on Dennis' Birthday (1962), unspecified instruments; The Four Dreams of China (The Harmonic Versions) (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; Studies in The Bowed Disc (1963), gong; Pre-Tortoise Dream Music (1964), sopranino saxophone, soprano saxophone, vocal drone, violin, viola, sine waves; The Tortoise, His Dreams and Journeys (1964–present), voices, various instruments, sine waves. Realizations include: Prelude to The Tortoise, The Tortoise Droning Selected Pitches from The Holy Numbers for The Two Black Tigers, The Green Tiger and The Hermit, The Tortoise Recalling The Drone of The Holy Numbers as They Were Revealed in The Dreams of The Whirlwind and The Obsidian Gong and Illuminated by The Sawmill, The Green Sawtooth Ocelot and The High-Tension Line Stepdown Transformer; The Well-Tuned Piano (1964–73/81–present). Each realization is a separately titled and independent composition. Over 60 realizations to date. World première: Rome 1974. American première: New York 1975; Sunday Morning Dreams (1965), tunable sustaining instruments and/or sine waves; Composition 1965 $50 (1965), performance piece; Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1966–present), voices, various instruments, sine waves; Bowed Mortar Relays (1964) (realization of Composition 1960 # 9), Soundtracks for Andy Warhol Films Eat, Sleep, Kiss, "Haircut", tape; The Two Systems of Eleven Categories (1966–present), theory work; Chords from The Tortoise, His Dreams and Journeys (1967–present), sine waves. Realizations include: Intervals and Triads from Map of 49's Dream The Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (1967), sound environment; Robert C. Scull Commission (1967), sine waves; Claes and Patty Oldenburg Commission (1967), sine waves; Betty Freeman Commission (1967), sound and light box & sound environment; Drift Studies (1967–present), sine waves; for Guitar (Just Intonation Version) (1978), guitar; for Guitar Prelude and Postlude (1980), one or more guitars; The Subsequent Dreams of China (1980), tunable, sustaining instruments of like timbre, in multiples of 8; The Gilbert B. Silverman Commission to Write, in Ten Words or Less, a Complete History of Fluxus Including Philosophy, Attitudes, Influences, Purposes (1981); Chords from The Well-Tuned Piano (1981–present), sound environments. Includes: The Opening Chord (1981), The Magic Chord (1984), The Magic Opening Chord (1984); Trio for Strings (1983) Versions for string quartet, string orchestra, and violin, viola, cello, bass; Trio for Strings, trio basso version (1984), viola, cello, bass; Trio for Strings, sextet version (1984); Trio for Strings, String Octet Version (1984), 2 violins, 2 violas, 2 cellos, 2 basses; Trio for Strings Postlude from The Subsequent Dreams of China (c. 1984), bowed strings; The Melodic Versions (1984) of The Four Dreams of China (1962), including The First Dream of China, The First Blossom of Spring, The First Dream of The High-Tension Line Stepdown Transformer, The Second Dream of The High-Tension Line Stepdown Transformer, tunable, sustaining instruments of like timbre, in multiples of 4; The Melodic Versions (1984) of The Subsequent Dreams of China, (1980) including The High-Tension Line Stepdown Transformer's Second Dream of The First Blossom of Spring, tunable, sustaining instruments of like timbre, in multiples of 8; The Big Dream (1984), sound environment; Orchestral Dreams (1985), orchestra; The Big Dream Symmetries #s 1–6 (1988), sound environments; The Symmetries in Prime Time from 144 to 112 with 119 (1989), including The Close Position Symmetry, The Symmetry Modeled on BDS # 1, The Symmetry Modeled on BDS # 4, The Symmetry Modeled on BDS # 7, The Romantic Symmetry, The Romantic Symmetry (over a 60 cycle base), The Great Romantic Symmetry, sound environments; The Lower Map of The Eleven's Division in The Romantic Symmetry (over a 60 cycle base) in Prime Time from 144 to 112 with 119 (1989–1990), unspecified instruments and sound environment; The Prime Time Twins (1989–90) including The Prime Time Twins in The Ranges 144 to 112; 72 to 56 and 38 to 28; Including The Special Primes 1 and 2 (1989); The Prime Time Twins in The Ranges 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; with The Range Limits 576, 448, 288, 224, 144, 56 and 28 (1990), sound environments; Chronos Kristalla (1990), string quartet; The Young Prime Time Twins (1991), including The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56 and 28 (1991), The Young Prime Time Twins in The Ranges 2304 to 1792; 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; 18 to 14; Including or Excluding The Range Limits 2304, 1792, 1152, 576, 448, 288, 224, 56, 28 and 18; and Including The Special Young Prime Twins Straddling The Range Limits 1152, 72 and 18 (1991), The Young Prime Time Twins in The Ranges 1152 to 896; 576 to 448; 288 to 224; 144 to 112; 72 to 56; 36 to 28; Including or Excluding The Range Limits 1152, 576, 448, 288, 224, 56 and 28; with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; The Symmetries in Prime Time from 288 to 224 with 279, 261 and 2 X 119 with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991–present), including The Symmetries in Prime Time When Centered above and below The Lowest Term Primes in The Range 288 to 224 with The Addition of 279 and 261 in Which The Half of The Symmetric Division Mapped above and Including 288 Consists of The Powers of 2 Multiplied by The Primes within The Ranges of 144 to 128, 72 to 64 and 36 to 32 Which Are Symmetrical to Those Primes in Lowest Terms in The Half of The Symmetric Division Mapped below and Including 224 within The Ranges 126 to 112, 63 to 56 and 31.5 to 28 with The Addition of 119 and with One of The Inclusory Optional Bases: 7; 8; 14:8; 18:14:8; 18:16:14; 18:16:14:8; 9:7:4; or The Empty Base (1991), sound environments; Annod (1953–55) 92 X 19 Version for Zeitgeist (1992), alto saxophone, vibraphone, piano, bass, drums, including 92 XII 22 Two-Part Harmony and The 1992 XII Annod Backup Riffs; Just Charles & Cello in The Romantic Chord (2002–2003), cello, pre-recorded cello drones and light design; Raga Sundara, vilampit khayal set in Raga Yaman Kalyan (2002–present), voices, various instruments, tambura drone; Trio for Strings (1958) Just Intonation Version (1984-2001-2005), 2 cellos, 2 violins, 2 violas; Footnotes References Reprinted 1999, New York: Da Capo Press. Text via UbuWeb. Further reading Ghosn, Joseph. 2010. La Monte Young. Marseilles, France : . Grimshaw, Jeremy. 2005. "Music of a 'More Exalted Sphere': Compositional Practice, biography, and Cosmology in the Music of La Monte Young." Doctoral dissertation, Eastman School of Music. Ann Arbor: UMI/ProQuest. Herzfeld, Gregor. 2007. Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag, 285–341. Dave Smith. 21 June 2004. "Following a Straight Line: La Monte Young." Journal of Experimental Music Studies. Updated reprint of Contact 18 (1977–78), 4–9. Solare, Juan María. 2006. "El Trío serial de La Monte Young". [About Young's Trio for Strings (1958)]. Doce Notas Preliminares, no. 17:112–142. Watson, Steven. 2003. Factory Made: Warhol and the Sixties. New York: Pantheon Books. Young, Logan K. 2014. "1,000 Anagrams for La Monte Young". New York: Peanut Gallery Press. Zimmerman, Walter, Desert Plants – Conversations with 23 American Musicians, Berlin: Beginner Press in cooperation with Mode Records, 2020 (originally published in 1976 by A.R.C., Vancouver). The 2020 edition includes a cd featuring the original interview recordings with Larry Austin, Robert Ashley, Jim Burton, John Cage, Philip Corner, Morton Feldman, Philip Glass, Joan La Barbara, Garrett List, Alvin Lucier, John McGuire, Charles Morrow, J.B. Floyd (on Conlon Nancarrow), Pauline Oliveros, Charlemagne Palestine, Ben Johnston (on Harry Partch), Steve Reich, David Rosenboom, Frederic Rzewski, Richard Teitelbaum, James Tenney, Christian Wolff, and La Monte Young. External links La Monte Young page on Mela Foundation La Monte Young page on Other Minds La Monte Young page on UbuWeb La Monte Young biography at Kunst im Regenbogenstadl La Monte Young on Record from The Wire magazine Farley, William (Dir.). In Between the Notes: A Portrait of Pandit Pran Nath, Master Indian Musician. Video documentary produced by Other Minds. Gann, Kyle. "La Monte Young.” Young, La Monte. "Notes on Continuous Periodic Composite Sound Waveform Environment Realizations." Aspen 8—The Fluxus Issue, edited by Dan Graham, designed by George Maciunas (1970–71). The issue also features a sound recording of Young's Drift Study 31 1 69. Young, La Monte. 89 VI 8 c. 1:42–1:52 AM Paris Encore (audio duration 10:33). Tellus #24 Flux Tellus, published on the Tellus Audio Cassette Magazine. Interviews Golden, Barbara. "Conversation with La Monte Young." eContact! 12.2—Interviews (2) (April 2010). Montréal: CEC. (includes video) La Monte Young and Marian Zazeela on WNYC’s New Sounds #449. Audio of a 1990 radio show featuring an interview and sound recordings. 1935 births Living people 20th-century classical composers Minimalist composers Los Angeles City College alumni University of California, Los Angeles alumni Experimental composers American male classical composers American classical composers 21st-century classical composers Fluxus Just intonation composers People from Bear Lake County, Idaho Pupils of Pran Nath (musician) Pupils of Karlheinz Stockhausen Pupils of Leonard Stein 21st-century American composers String quartet composers 20th-century American composers 20th-century American male musicians 21st-century American male musicians Gramavision Records artists People from Idaho	false	[ "Somos may refer to:\n\nGeography \n Somoș River (Belinul Mic), in Covasna County, Romania\n Somoș River (Malnaș), in Covasna County, Romania\n Somoș River (Olt), in Covasna County, Romania\n\nPeople \nMichael Somos, mathematician\nSomos sequence\n\nCompanies \nSomos, Inc., a company that manages registry databases for the telecommunications industry\n\nMusic \nSomos (band)\nSomos, the Spanish edition of the album Noi by Eros Ramazzotti\nSomos (Christopher Von Uckermann album)\n\"Somos\", tune written by Mario Clavell from El Último Trago, earlier recorded by António Machin 1959\nSomos One Voice, an October 2017 telethon carried by NBC networks and organized and hosted by Jennifer Lopez for disaster relief in Puerto Rico following Hurricane Maria. It featured musicical performances by Lopez, J Velvet, Mary J. Blige with Chris Martin, Demi Lovato, Ricky Martin, Gwen Stefani, Stevie Wonder, Marc Anthony, and others.\n\nTelevision \nSomos. a 2021 limited series on Netflix about the 2011 Lost Zetas massacre in Allende, Coahuila in Mexico\n\nPublications \n\n Somos, an underground magazine published by the Frente de Liberación Homosexual from 1973 to 1976\n\nSee also \n Somo (disambiguation)", "Home: A Short History of An Idea is a book published in 1986 by Canadian architect, professor and writer Witold Rybczynski.\n\nHome won the 1986 Governor General's Award for non-fiction.\n \nThe book is an extended essay on the evolution of domestic living and culture; Rybczynski recounts the history of the material and cultural influences (such as intimacy and privacy, domesticity, ease) as well as ideas about light, air, and efficiency, all of which he claims to have helped shape the idea of comfort.\n\n1986 non-fiction books\nBooks by Witold Rybczynski\nDesign books\nViking Press books" ]
[ "Vlade Divac", "KK Partizan" ]	C_ae1a7ce0b4144088b0f2ad1f39380eb4_0	what is the connection between divac and kk partizan	1	what is the connection between vlade divac and kk partizan	Vlade Divac	In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilovic took over their former club KK Partizan. They did so on initiative by Ivica Dacic, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milosevic, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from regime change, Dacic saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilovic took the vice-president role. Freshly retired from playing, Danilovic was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000-01 season before they decided in summer 2001 to bring back their mentor Dusko Vujosevic to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports gets passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan wasn't and still isn't really clear, potential investors decided to stay away, at least until the law appears. Divac and Danilovic appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end-goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. CANNOTANSWER	Divac and former teammate Predrag Danilovic took over their former club KK Partizan.	Vlade Divac (, ; born February 3, 1968) is a Serbian professional basketball executive and former player who was most recently the vice president of basketball operations and general manager of the Sacramento Kings of the National Basketball Association (NBA). Divac spent most of his playing career in the NBA. At , he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition. He was elected to the Naismith Memorial Basketball Hall of Fame in 2019. Divac is a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a four-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame. Professional career Sloga (1983–1986) Divac began playing basketball in his home town Prijepolje for the team KK Elan. He began his professional career in Yugoslavia playing for Sloga from Kraljevo, and was immediately noted for scoring 27 points against Crvena zvezda. Partizan (1986–1989) In the summer of 1986, Divac was the top star of the basketball transfer season, and he ended up signing with KK Partizan for DM14,000. In the 1986-87 Yugoslav First League season, with players like Divac, Aleksandar Đorđević, Žarko Paspalj, Željko Obradović, and with coach Duško Vujošević at the helm, Partizan had a "dream team", which won the Yugoslavian League title. In the subsequent 1987-88 FIBA European Champions Cup season (now called EuroLeague), the club failed to reach the top of the EuroLeague, after having lost to Maccabi Tel Aviv in the semifinal in Ghent. Jugoplastika, with Dino Rađa and Toni Kukoč, was a stronger team in the subsequent three years, reigning both in Yugoslavia and in Europe. Divac had an unusual style compared to most other centers of his generation: despite his height, he possessed good mobility, had good control of the ball, and was a decent shooter. On occasion, he would also act as a play maker. His trademark moves included a mid-range shot at the top of the key and flip shots around the rim, while facing the complete opposite direction. His quirky moves complemented how he liked playing gags on the court: in the 1989 EuroBasket, he lifted teammate Zoran Radović for a slam dunk. In just four professional seasons in Europe, he became the most sought-after big man on the continent, after Arvydas Sabonis. Los Angeles Lakers (1989–1996) Drafted into the NBA in 1989 by the Los Angeles Lakers, Divac became one of the first European players to have an impact in the league. Under the mentorship of Kareem Abdul-Jabbar and Magic Johnson, he improved his play and adapted to the American style of basketball. Though he spoke no English, he quickly became popular among his teammates and the public for his charm and joviality. In the 1989–90 season, he was selected into the NBA All-Rookie Team. Divac earned a reputation for flopping, or deceiving the officials into calling a foul on the other team by purposely falling to the floor upon contact with an opposing player. Veteran NBA forward P.J. Brown claimed that Divac might have been the best of all time at flopping. Divac freely admitted doing so, adding that he usually did it when he felt like the officials had missed some calls and owed him. However, when the NBA instituted anti-flopping penalties in 2012, Divac expressed his support for such rules, stating that he felt players after him were "overdo[ing] it" with respect to flopping. Ian Thomsen, a Sports Illustrated columnist, grouped Divac with fellow international players Anderson Varejão and Manu Ginóbili as the players who "made [flopping] famous", exaggerating contact on the court in a manner analogous to diving in FIBA games. Charlotte Hornets (1996–1998) On July 1, 1996, Divac was traded to the Charlotte Hornets for the draft rights to Kobe Bryant and played two seasons there until signing with the Sacramento Kings in July 1998. Crvena zvezda (1999) During the 1998–99 NBA lockout, in January 1999, Divac played 2 games for Partizan's eternal rival KK Crvena zvezda, in the 1998–99 EuroLeague season. His debut for the crveno-beli took place mid-season, on Orthodox Christmas, versus a heavily favoured Žalgiris side led by Tyus Edney, Mindaugas Žukauskas, Saulius Štombergas, and Jiří Zídek Jr. Supported by a raucous home crowd and energized by Divac's arrival, as well as his 16 points and 8 rebounds, Crvena zvezda pulled off a 77–69 memorable upset win. Divac's brief stint with Crvena zvezda, for which he reportedly got paid US$250,000 per game, immediately became a sore point with KK Partizan fans, who unfurled a banner calling him a traitor, at their club's next game. The issue of playing for the hated cross-town rival reignited several years later, when Divac returned to KK Partizan as club president. At the time, he stated his decision to play for Crvena zvezda was "a mistake". Sacramento Kings (1999–2004) On January 22, 1999, Divac signed a six-year, $62.5 million contract as a free agent with the Sacramento Kings, where he played for six seasons alongside fellow countryman Peja Stojaković. Teamed with Stojaković, Hedo Türkoğlu, Chris Webber and Mike Bibby, Divac revitalized the Sacramento Kings franchise. The Kings rose in the NBA ranks, becoming a perennial playoff contender and eventually a championship contender, leading the league in wins in 2001-02. The Kings, however, could not get past the Los Angeles Lakers, who beat them controversially in a 7-game series in 2002, which has later been dubbed by some as the 'greatest tragedy in sports history'. Return to the Lakers (2004–2005) After the 2003–04 NBA season, Divac became a free agent. On July 20, 2004, he signed a two-year contract to return to the Lakers, part of Mitch Kupchak's plan to overhaul Laker basketball. The Lakers, following a defeat in the NBA Finals, had traded away or released most of their players, including Shaquille O'Neal, Gary Payton, Karl Malone, Derek Fisher, and more; Divac was supposed to help fill that void. However, Divac suffered back problems and could not play most of the season, and even when he returned, could only play about nine minutes per game, averaging 2.3 points per game and 2.1 rebounds per game in 15 games, he played 8 games early in the season and 7 more in the final month of the season. On July 14, 2005, 37-year-old Divac announced his retirement, ending his 16-year NBA and 22-year professional basketball career. Divac accepted a position with the Lakers as a European liaison to help with scouting overseas. The Kings retired Divac's No. 21 jersey in a ceremony on March 31, 2009. Over his 16 years in the NBA, Divac earned over $93 million in salary. In September 2009, he played for the "NBA Generations" team in the 2009 NBA Asia Challenge, a series of exhibitions against Korean Basketball League and Philippine Basketball Association players. National team career In summer 1986, at 18, right after signing for KK Partizan, Divac debuted for the senior Yugoslavia national basketball team at the 1986 FIBA World Championship in Madrid, on invitation by the head coach Krešimir Ćosić. However, the excellent rookie's performance was spoiled by the event in the semi-finals against the Soviet Union. Forty-five seconds before the end, Yugoslavia had a comfortable lead of 9 points, but the Soviets scored two three-pointers within a few seconds and cut the difference to 3 points. Yugoslavia tried to hold the ball for the remaining time, opting to continue the play with throw-ins instead of free throws following fouls, but with only 14 seconds left, Divac committed a double dribble, the Soviets were awarded the ball, and tied the score with another three-pointer. In the overtime, the Soviets won by 1 point and Yugoslavs had to be content with the bronze. The next year, Divac participated in the team that took the gold at the 1987 FIBA Junior World Championship (which was later split into separate under-19 and under-21 events) in Bormio, Italy. That event launched the young generation of Yugoslavian basketball players, also featuring stars like Rađa and Kukoč, regarded as likely the best in history. Before the breakup of Yugoslavia, they would also take the titles at EuroBasket 1989 and the 1990 FIBA World Championship in Argentina, where they were led by Dražen Petrović, as well as the EuroBasket 1991 title, with Aleksandar Đorđević at point guard. When Yugoslavia won the gold in the 1990 FIBA World Championship, fans rushed onto the court. One of them was holding a Croatian flag, one of the six republics that made up Yugoslavia. Divac claims that he told the man that he should not be waving that flag, since this was a win for Yugoslavia. Divac claims the man made a derogatory remark about the Yugoslav flag, at which point Divac took his flag from him. This happened during a very tense time where nationalistic pride was threatening to tear Yugoslavia apart and ignite a war. The taking of the flag made Divac a hero to Serbs, and a villain to Croatians. Divac has stated that he did not mean it as an act against Croatia and he would have taken away a Serbian flag if a Serb fan had done the same. This action, along with the Yugoslav Wars, alienated Divac from many of his former Croatian friends, particularly Dražen Petrović, whom he considered his best friend. When FR Yugoslavia won the gold medal at the EuroBasket 1995, and Croatia won bronze, Croatia, still at war with Serbs from Croatia, walked off the podium during the medal ceremony. The teams had not faced each other in the tournament. NBA career statistics Regular season \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 5 \|\| 19.6 \|\| .499 \|\| .000 \|\| .708 \|\| 6.2 \|\| 0.9 \|\| 1.0 \|\| 1.4 \|\| 8.5 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 81 \|\| 28.2 \|\| .565 \|\| .357 \|\| .703 \|\| 8.1 \|\| 1.1 \|\| 1.3 \|\| 1.5 \|\| 11.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 36 \|\| 18 \|\| 27.2 \|\| .495 \|\| .263 \|\| .768 \|\| 6.9 \|\| 1.7 \|\| 1.5 \|\| 1.0 \|\| 11.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 69 \|\| 30.8 \|\| .485 \|\| .280 \|\| .689 \|\| 8.9 \|\| 2.8 \|\| 1.6 \|\| 1.7 \|\| 12.8 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 73 \|\| 34.0 \|\| .506 \|\| .191 \|\| .686 \|\| 10.8 \|\| 3.9 \|\| 1.2 \|\| 1.4 \|\| 14.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 80 \|\| 80 \|\| 35.1 \|\| .507 \|\| .185 \|\| .777 \|\| 10.4\|\| 4.1 \|\| 1.4 \|\| 2.2 \|\| 16.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 79 \|\| 31.3 \|\| .513 \|\| .167 \|\| .641 \|\| 8.6 \|\| 3.3 \|\| 1.0 \|\| 1.7 \|\| 12.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 81 \|\| 80 \|\| 35.1 \|\| .494 \|\| .234 \|\| .683 \|\| 9.0 \|\| 3.7 \|\| 1.3 \|\| 2.2 \|\| 12.6 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 64 \|\| 41 \|\| 28.2 \|\| .498 \|\| .214 \|\| .691 \|\| 8.1 \|\| 2.7 \|\| 1.3 \|\| 1.5 \|\| 10.4 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 50 \|\| 50 \|\| 35.2 \|\| .470 \|\| .256 \|\| .702 \|\| 10.0 \|\| 4.3 \|\| 0.9 \|\| 1.0 \|\| 14.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 82 \|\| 81 \|\| 29.0 \|\| .503 \|\| .269 \|\| .691 \|\| 8.0 \|\| 3.0 \|\| 1.3 \|\| 1.3 \|\| 12.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 29.9 \|\| .482 \|\| .286 \|\| .691 \|\| 8.3 \|\| 2.9 \|\| 1.1 \|\| 1.1 \|\| 12.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 30.3 \|\| .472 \|\| .231 \|\| .615 \|\| 8.4 \|\| 3.7 \|\| 1.0 \|\| 1.2 \|\| 11.1 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 29.8 \|\| .466 \|\| .240 \|\| .713 \|\| 7.2 \|\| 3.4 \|\| 1.0 \|\| 1.3 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 28.6 \|\| .470 \|\| .154 \|\| .654 \|\| 5.7 \|\| 5.3 \|\| 0.7 \|\| 0.1 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 15 \|\| 0 \|\| 8.7 \|\| .419 \|\| .000 \|\| .667 \|\| 2.1 \|\| 1.3 \|\| 0.3 \|\| 0.1 \|\| 2.3 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 1134 \|\| 979 \|\| 29.8 \|\| .495 \|\| .235 \|\| .692 \|\| 8.2 \|\| 3.1 \|\| 1.1 \|\| 1.4 \|\| 11.8 \|- class="sortbottom" \| style="text-align:center;" colspan="2"\| All-Star \| 1 \|\| 0 \|\| 9.0 \|\| .667 \|\| .000 \|\| – \|\| 6.0 \|\| 1.0 \|\| 2.0 \|\| 0.0 \|\| 8.0 Playoffs \|- \| style="text-align:left;"\| 1990 \| style="text-align:left;"\| LA Lakers \| 9 \|\| 1 \|\| 19.4 \|\| .727 \|\| .500 \|\| .895 \|\| 5.3 \|\| 1.1 \|\| 0.9 \|\| 1.7 \|\| 9.1 \|- \| style="text-align:left;"\| 1991 \| style="text-align:left;"\| LA Lakers \| 19 \|\| 19 \|\| 32.1 \|\| .564 \|\| .167 \|\| .803 \|\| 6.7 \|\| 1.1 \|\| 1.4 \|\| 2.2 \|\| 13.3 \|- \| style="text-align:left;"\| 1992 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 35.8 \|\| .349 \|\| .000 \|\| .900 \|\| 5.5 \|\| 3.8 \|\| 1.3 \|\| 0.8 \|\| 9.8 \|- \| style="text-align:left;"\| 1993 \| style="text-align:left;"\| LA Lakers \| 5 \|\| 5 \|\| 33.4 \|\| .500 \|\| .444 \|\| .545 \|\| 9.4 \|\| 5.6 \|\| 1.2 \|\| 2.4 \|\| 18.0 \|- \| style="text-align:left;"\| 1995 \| style="text-align:left;"\| LA Lakers \| 10 \|\| 10 \|\| 38.8 \|\| .467 \|\| .222 \|\| .645 \|\| 8.5 \|\| 3.1 \|\| 0.8 \|\| 1.3 \|\| 15.6 \|- \| style="text-align:left;"\| 1996 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 28.8 \|\| .429 \|\| .200 \|\| .625 \|\| 7.5 \|\| 2.0 \|\| 0.0 \|\| 1.3 \|\| 9.0 \|- \| style="text-align:left;"\| 1997 \| style="text-align:left;"\| Charlotte \| 3 \|\| 3 \|\| 38.7 \|\| .457 \|\| .000 \|\| .800 \|\| 8.7 \|\| 3.3 \|\| 1.0 \|\| 2.0 \|\| 18.0 \|- \| style="text-align:left;"\| 1998 \| style="text-align:left;"\| Charlotte \| 9 \|\| 9 \|\| 38.5 \|\| .483 \|\| .000 \|\| .606 \|\| 10.9 \|\| 3.4 \|\| 0.8 \|\| 1.6 \|\| 11.6 \|- \| style="text-align:left;"\| 1999 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 39.6 \|\| .446 \|\| .200 \|\| .833 \|\| 10.0 \|\| 4.6 \|\| 1.6 \|\| 0.8 \|\| 16.2 \|- \| style="text-align:left;"\| 2000 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 32.0 \|\| .357 \|\| .000 \|\| .696 \|\| 7.2 \|\| 2.8 \|\| 1.4 \|\| 0.8 \|\| 11.2 \|- \| style="text-align:left;"\| 2001 \| style="text-align:left;"\| Sacramento \| 8 \|\| 8 \|\| 28.1 \|\| .350 \|\| .333 \|\| .763 \|\| 8.4 \|\| 2.4 \|\| 1.0 \|\| 1.5 \|\| 10.8 \|- \| style="text-align:left;"\| 2002 \| style="text-align:left;"\| Sacramento \| 16 \|\| 16 \|\| 33.4 \|\| .464 \|\| .268 \|\| .755 \|\| 9.3 \|\| 1.7 \|\| 1.1 \|\| 1.3 \|\| 13.5 \|- \| style="text-align:left;"\| 2003 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 26.4 \|\| .560 \|\| .000 \|\| .673 \|\| 5.8 \|\| 2.3 \|\| 0.7 \|\| 0.9 \|\| 11.4 \|- \| style="text-align:left;"\| 2004 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 19.6 \|\| .437 \|\| .000 \|\| .739 \|\| 4.9 \|\| 1.8 \|\| 0.3 \|\| 0.4 \|\| 6.6 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 121 \|\| 113 \|\| 30.8 \|\| .480 \|\| .241 \|\| .731 \|\| 7.5 \|\| 2.4 \|\| 1.0 \|\| 1.4 \|\| 12.1 Major career achievements KK Partizan Yugoslav League Champion: (1987) 1988 EuroLeague Final Four: 3rd Place Yugoslav Cup Winner: (1989) Korać Cup Winner: (1989) Yugoslavia national team Earned gold medal with Yugoslavia's under-18 nationals at the 1985 FIBA Europe Under-16 Championship in Rousse, Bulgaria Earned gold medal with Yugoslavia's under-21 nationals at the 1986 FIBA Europe Under-18 Championship in Gmunden, Austria Earned gold medal with Yugoslavia's under-21 nationals at the 1987 FIBA Under-19 World Cup in Bormio, Italy, defeating the U.S. team twice in that tournament Earned silver medals in 1988 Summer Olympic Games (for SFR Yugoslavia) and 1996 Summer Olympic Games (for FR Yugoslavia) Earned gold medals with SFRY at the 1990 FIBA World Championship (Argentina) and with FRY at the 2002 FIBA World Championship (U.S.) Earned gold medals at EuroBasket in Zagreb 1989, and Rome 1991 (with SFRY), and in Athens 1995 (with FRY) NBA Named to the 1989–90 NBA All-Rookie First Team after averaging 8.5 ppg and 6.2 rpg for the Lakers Appeared in the 1991 NBA Finals against the Chicago Bulls and averaged 12.1 ppg, 7.5 rpg and 2.4 apg in 121 career NBA Playoff games Ranks 4th in Lakers franchise history with 830 blocked shots Ranked 2nd on the Kings in scoring (14.3 ppg), rebounds (10.0 rpg, 10th in the NBA), assists (4.3 apg) and blocked shots (1.02 bpg) in 1998–99 Named NBA All-Star, 2001 One of only five basketball players born and trained in Europe to play at least 1,000 NBA games (1,134; along with Dirk Nowitzki, Tony Parker, Pau Gasol, Boris Diaw) One of only four basketball players born and trained in Europe (Peja Stojaković, Dražen Petrović and Zydrunas Ilgauskas are the others) to have his number retired by an NBA team Administrative career Through the twilight of his playing career and afterwards, Divac focused on three fields: humanitarian work, sport management, and investment. KK Partizan president In late 2000, following the overthrow of Slobodan Milošević whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilović took over their former club KK Partizan. They did so on initiative by Ivica Dačić, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milošević, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from régime change, Dačić saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilović took the vice-president role. Freshly retired from playing, Danilović was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000–01 season before they decided in summer 2001 to bring back their mentor Duško Vujošević to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports was passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan was not and still is not really clear, potential investors decided to stay away, at least until the law came into effect. Divac and Danilović appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. LA Lakers scout In October 2005, right after ending his playing career with the Los Angeles Lakers, Divac got hired as the Lakers' European scout, reporting directly to the team's general manager Mitch Kupchak. He left the position in 2006. Real Madrid Baloncesto club management In June 2006, through his friendship with Predrag Mijatović, Divac linked up with Ramón Calderón as part of the lawyer's candidate bid for the presidency of Real Madrid. When Calderón closely won the club elections on July 2, 2006, Divac was announced as the head of operations at Real Madrid basketball club though the scope of his job description soon got reduced to consulting duties as president Calderón's adviser for basketball and club's international coordinator. However, Divac's role in the club's day-to-day operations turned out to be largely symbolic, and he even admitted as much in a March 2007 interview for Croatian weekly Globus: "I literally do nothing and I only serve as part of the royal club'''s image. I only accepted the job because of Mijatović, who is currently the football director at Real". By the end of 2007, following a financial settlement between the two parties, Divac moved on from the post for which he had been reportedly receiving an annual compensation of €300,000. Serbian Deputy Prime Minister's adviser In October 2008, Divac's political advisory engagement within the Serbian government as the sports, diaspora, and humanitarian advisor to the Deputy Prime Minister and Internal Affairs Minister Ivica Dačić, got announced. Olympic Committee of Serbia president Divac was proposed in 2000 as Yugoslavia's candidate for the Sport Commission of the International Olympic Committee in spring 2000. This candidature was withdrawn under pressure from Milošević regime. In February 2009, Divac ran for presidency of the Olympic Committee of Serbia against incumbent president Ivan Ćurković. He won the race after Ćurković withdrew just before the scheduled voting. In November 2012, he was re-elected as the sole candidate; the end of his second mandate coincides with the 2016 Summer Olympics in Rio de Janeiro. In December 2014, Kosovo was accepted as a full member of the International Olympic Committee. Divac and the Serbian Olympic Committee have been criticised, chiefly by the Democratic Party of Serbia, for failing to take any effort to prevent that. Divac stated that he is not happy with the decision of the IOC, but could not have prevented it as it had already been made, and said he would accept it "in the interest of the athletes". On May 9, 2017, he was succeeded by Serbian former basketball coach Božidar Maljković on position of the president of Olympic Committee of Serbia. Sacramento Kings front office Initial advisory role In early March 2015, Divac was hired by the Sacramento Kings as their vice president of basketball and franchise operations. Brought into the organization by the principal owner Vivek Ranadivé towards the end of a turbulent season, Divac's arrival came in the wake of head coach Mike Malone's firing and the eventual hiring of George Karl. Working alongside the team's general manager Pete D'Alessandro, Divac's initial duties with the Kings were reported to be advising the front office and coaches as well as assisting with branding and fan outreach. However, such broadly defined job responsibilities immediately led to press speculation about Divac's role within the organization that in addition to general manager D'Alessandro also featured assistant GM Mike Bratz, special assistant to the GM Mitch Richmond, director of player personnel and analytics Dean Oliver, adviser to the chairman Chris Mullin, as well as a head coach, Karl, who has always wanted to be involved in personnel issues. Within a month of Divac's hiring, ESPN's Marc Stein reported that "despite the Kings not yet announcing their new power structure, Divac is indeed already regarded as the team's top basketball official by owner Ranadivé". On June 10, 2015, two weeks before the NBA draft, general manager D'Alessandro left the Kings by accepting a front-office position with the Denver Nuggets amid reports he did so due to being stripped of his decision-making power after Ranadivé hired Divac. Only days before the draft, animosity between head coach Karl and the team's star center DeMarcus Cousins reignited, as Karl reportedly lobbied Divac, as well as multiple players on the Kings' roster, in order to make the case to owner Ranadive that Cousins needs to be traded. As a result, against the backdrop of Cousins calling Karl a "snake" on Twitter, Divac reportedly discussed multiple Cousins trade scenarios with various teams, but ultimately no deal got made. At the 2015 NBA draft, with the 6th pick, the Kings selected 21-year-old center Willie Cauley-Stein out of Kentucky. Less than a week following the draft, with the dissolution of the Karl—Cousins relationship on public display, the Kings' ultimately unsuccessful attempt at landing University of Kentucky head coach John Calipari to replace Karl was reported. In early July 2015, in an effort of clearing salary cap space in order to immediately go after free agents, the Kings agreed to a trade with the Philadelphia 76ers, sending Nik Stauskas, Carl Landry, and Jason Thompson, along with the Kings' future first round draft pick to the Sixers as well as the rights to swap first round picks in 2016 and 2017 while receiving the rights to Sixers overseas players Artūras Gudaitis and Luka Mitrović in return. Two days later, they announced the acquisitions of two free agents: 29-year-old Marco Belinelli on a three-year US$19 million contract and 29-year-old point guard Rajon Rondo for one year for US$10 million. This was followed by signing twenty-six-year-old center Kosta Koufos for four years and US$33 million with his role envisioned as the backup for Cousins. With the free agent signings done, Divac turned his attention to attempting to mend the relations between the team's head coach Karl and its star center Cousins ahead of the 2015-16 season, admitting publicly on July 9, 2015 on CBS Sports Radio's The Jim Rome Show that the relationship between the two "isn't pretty right now". A few days later, on July 13, 2015, during a 2015 NBA Summer League game in Las Vegas, the two shared an awkward on-camera handshake as Karl approached and Cousins reluctantly shook the coach's hand before turning away. Later that week, Divac summoned Cousins and Karl to a private counseling session. General manager Divac was promoted to the Kings' vice president of basketball operations and general manager on August 31, 2015. Amid a tense and incident-filled season that saw the team briefly reach the final playoff spot in the Western Conference before unravelling with extended losing streaks in late January and early February 2016, the organization reportedly made a decision to fire their head coach George Karl during the upcoming All-Star break, a move pushed for by Divac. However, in a quick about-face, Karl got retained after meeting with Divac and reportedly pledging to make changes to address concerns within the organization about his defensive schemes and practice policies. It was later reported that the move to fire Karl on this occasion got scuttled by the Kings minority owners over financial concerns. A month and a half later, in late March 2016, Divac signed a multi-year contract extension with the organization. The team finished the season 33–49, eight games out of the playoffs, good for 10th spot in the Western Conference. Their final season in Sleep Train Arena, the team's home since 1988, it was also their first 30 plus win campaign after seven consecutive seasons of fewer than 30 wins. Early into the team's offseason, in mid April 2016, the Kings organization fired head coach Karl, a decision made by Divac who had reportedly been pushing for it for months. Within three weeks, during which Divac interviewed head coaching candidates Sam Mitchell, Vinny Del Negro, Mike Woodson, David Blatt, Mark Jackson, Jeff Hornacek, Nate McMillan, Patrick Ewing, Elston Turner, and Corliss Williamson, the Kings hired Dave Joerger as their new head coach, signing him to a four-year deal worth US$16 million. At the 2016 NBA draft, with the 8th pick, the Kings selected Marquese Chriss out of the University of Washington, but traded him to the Phoenix Suns for rights to Bogdan Bogdanović as well as the Suns' 2016 draft 13th and 28th picks, Georgios Papagiannis and Skal Labissière, respectively. At the 2017 NBA draft, with the 5th pick, the Kings selected point guard De'Aaron Fox out of Kentucky. At the 2018 NBA draft, the Kings selected Marvin Bagley III with the second overall pick, passing on Luka Dončić who would become a MVP candidate within two years into his NBA career. In 2018–19 season the Sacramento Kings finished 9th in the Western conference. However, the season was evaluated as successful for the Kings. The 2019–20 NBA season was suspended in March as a result of the COVID-19 pandemic, and the Sacramento Kings were invited to the 22-team 2020 NBA Bubble. However, the Kings did not manage to qualify for the playoffs, their 14th consecutive season without a playoff appearance, and finished the season with a 31–41 record. Shortly thereafter, on August 14, 2020, Divac stepped down as general manager. Investments Divac has been involved in many non-basketball endeavors while still actively playing in the NBA, and more so after he retired. He is an active restaurant investor in the Sacramento, California area. However, his attempts to make major investments in Serbia failed, for a variety of reasons. The most notable affair was a highly publicized business venture—takeover bid of profitable beverage producer Knjaz Miloš. Divac's company "Apurna", in a joint venture with French dairy giant Danone, ostensibly proposed the best bid, but the takeover was aborted by the Serbia's Securities Commission, because Danone/Apurna allegedly offered extra money to small shareholders. In the repeated bid, Divac and Danone eventually withdrew and the sale went to FPP Balkan Ltd., a privatization fund from the Cayman Islands. The entire messy affair caused great friction within the Serbian government, wide speculation about corruption, resignation of the Securities Commission chief, and even a police investigation. Another similar, though less spectacular, episode happened with 2005 Divac's attempt to take over the Večernje novosti, a Serbian high-circulation daily. He made an agreement with small shareholders to take over the company by means of registering a new company with joint capital, which would increase the share capital. However, the Serbian Government intervened and halted what should have been a mere technical move. While the attempted takeover was a "backdoor" one indeed, it was legal and similar cases had already occurred. The government ostensibly feared lack of control over the influential daily. Even though the Supreme Court of Serbia eventually ruled in Divac's favor, he withdrew from the contest, citing "friendly advice" by unnamed persons. Embittered, he decided to stop his attempts to invest in Serbia: "All of this is ugly and I'm very upset... I realized that there's no place for me in Serbia and my friends can meet me in Madrid from now on... In Serbia, some different rules are in effect, and I can't conceive them". However, that turned out not to be true, as in October 2007 Divac got legally registered as the 100% owner of Voda Voda, a bottled water brand previously owned by businessman Vojin Đorđević. That transaction was also followed by a stir of controversy, as Đorđević publicly accused Divac of deceit, asserting that he broke a gentlemen's agreement they had, and questioning the validity of the contract that Divac presented to the Serbian Business Registers Agency. The circumstances surrounding the deal (as of November 2007) are still unclear: Divac claims that he indeed loaned some money to Đorđević's Si&Si company, which was in financial trouble, and after Đorđević failed to fulfill his part of the deal, just used the contract, already properly signed by Đorđević, to claim ownership of the company. Humanitarian work Divac is a humanitarian worker, focusing on aid to children worldwide and refugees in his home country. Along with six Serbian basketball teammates, Divac established the charity called Group Seven, later renamed to "Divac's Children Foundation", and works closely with International Orthodox Christian Charities (IOCC), helping them to raise around US$500,000 for humanitarian assistance in Serbia since 1997. Divac's own foundation, presided by his wife Snežana, provided over $2,500,000 in humanitarian assistance through 1998–2007. In 2000, the NBA named Divac as the recipient of the J. Walter Kennedy Citizenship Award. The honor is presented annually to a player, coach or athletic trainer who shows outstanding service and dedication to the community. In late 2007, Divac founded a humanitarian organization, "You Can Too" (Serbian: Можеш и ти/Možeš i ti), with the goal of restoring abandoned homes in villages throughout Serbia and Africa, thereby providing shelter for homeless refugees. Around 7,800 of those people still live in collective centers under poor conditions, so the organization has employed itself to buy abandoned countryside houses, in an attempt to finally solve their accommodation problem. From September 21 to 23, 2007, Divac organized an official farewell from his active basketball career in his hometown Prijepolje and Belgrade, simultaneously promoting the "You Can Too" campaign. The spectacle culminated in a gathering of Divac and his worldwide friends in front of 10,000 people outside the National Assembly building. In popular culture In the early 1990s, the song "Vlade Divac" by Belgrade band Deca Loših Muzičara, devoted to his move to the Lakers, was a big hit; the band finally got to personally meet Divac and perform the song with him on his farewell party in 2007. During his time with the Lakers, Divac's popularity and marketing potential, in addition to his entertaining and good-natured personality, were picked up on by the American TV industry. As a result, he appeared quite a few times on Los Angeles-based late night programmes such as The Arsenio Hall Show and The Tonight Show with Jay Leno. In 1990, he was featured in a commercial with Laker teammates A. C. Green and Mychal Thompson for the Schick brand razor company. He also appeared in American sitcoms Married... with Children and Coach, as well as in the short lived Good Sports sitcom. On the big screen Divac took part in basketball-based movies Eddie, Space Jam and Juwanna Mann. Later in his career, he appeared on Larry King Live in 1999 and The Late Late Show in 2002. In Serbia, throughout his playing career, Divac regularly appeared in commercials pitching products ranging from Atlas Beer to Société Générale mortgage credit plans. He appeared in a national TV commercial in the United States alongside former NBA star Darryl Dawkins for Taco Bell. Divac appeared as a special guest on Eurovision 2008. He threw a ball into the audience, which marked the beginning of televoting. Divac features in the ESPN 30 for 30 documentary Once Brothers, where he discusses the exploits of the Yugoslavia national basketball team in the late 1980s and early 1990s and how the Yugoslav Wars tore them apart, especially in context of his broken friendship with Croatian player Dražen Petrović. Divac appears in Boris Malagurski's documentary film The Weight of Chains'', in which he talks about the 1999 NATO bombing of Yugoslavia. Personal life Divac and his wife, Snežana, have two sons, Luka and Matija, and an adopted daughter, Petra, whose biological parents were killed by Kosovo Liberation Army snipers. On January 7, 2014, Divac's father Milenko died after injuries sustained in a car accident. Filmography Film Selected television See also List of National Basketball Association career blocks leaders List of National Basketball Association players with 10 or more blocks in a game List of Serbian NBA players Notes References Further reading External links Euroleague.net 50 greatest contributors 1968 births Living people Basketball players at the 1988 Summer Olympics Basketball players at the 1996 Summer Olympics Centers (basketball) Charlotte Hornets players FIBA EuroBasket-winning players FIBA Hall of Fame inductees FIBA World Championship-winning players KK Crvena zvezda players KK Partizan players KK Sloga players Los Angeles Lakers draft picks Los Angeles Lakers players Los Angeles Lakers scouts Medalists at the 1988 Summer Olympics Medalists at the 1996 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association general managers National Basketball Association players from Serbia National Basketball Association players with retired numbers National Basketball Association scouts from Europe Olympic basketball players of Yugoslavia Olympic medalists in basketball Olympic silver medalists for Yugoslavia Olympic silver medalists for Serbia and Montenegro People from Prijepolje Recipients of the Olympic Order Recipients of the Order of St. Sava Sacramento Kings players Sacramento Kings executives Serbian basketball scouts Serbian businesspeople Serbian basketball executives and administrators Serbian expatriate basketball people in the United States Serbian men's basketball players Universiade gold medalists for Yugoslavia Universiade medalists in basketball Yugoslav expatriate sportspeople in the United States Yugoslav men's basketball players 1990 FIBA World Championship players 2002 FIBA World Championship players 1986 FIBA World Championship players Medalists at the 1987 Summer Universiade	false	[ "The Ranko Žeravica Sports Hall () is a multi-purpose sports arena located in the Belgrade municipality of New Belgrade.\n\nRanko Žeravica Sports Hall, renamed in 2016 in honour of Serbian basketball coach Ranko Žeravica, is widely known by its informal title Hala. It was built in 1968 and opened in December 1968. Since 1979 it functions as part of a state-owned enterprise JP Sportski centar Novi Beograd. Nearby Sports and Recreation Center 11. April (Sportsko-rekreativni centar 11. april) is also included under its umbrella.\n\nHala seats up to 5,000 people for sporting events and up to 7,000 for musical events.\n\nIn November 2010, the renovation of Hala was announced for 2011. The new-look renovated venue was presented in late August 2011.\n\nSports\nHala sportova served as home floor for many Belgrade-based sports teams.\n\nKK Partizan\nThe most prominent of them all was Partizan basketball club, which played its home games here from 1970 until 1990. During this time, famous Partizan players like Dragan Kićanović, Dražen Dalipagić, Vlade Divac, Aleksandar Sasha Đorđević, Predrag Danilović and Žarko Paspalj graced Hala's floor. Popular commercial radio jingle promoting Partizan at the time was: \n\nTheir finest Hala hour occurred on 22 March 1989 in the second leg of the 1988-89 Korać Cup final. Taking on the Italian club Pallacanestro Cantù (Wiwa Vismara), Partizan came back from the first leg with a 13-point deficit. However, a heroic performance on Hala floor saw them overturn the Italians' lead and win the Cup in high style with a splendid 19-point victory 101-82 behind Divac's 30 points with Paspalj adding 22 and Đorđević 21.\n\nOther teams\nHala has also been home to basketball's Novi Beograd, known throughout its history of sponsorships as IMT, Infos-RTM, Beopetrol, and Atlas. Another resident was Lavovi.\n\nOther former basketball occupants included now defunct Beobanka (during the 1990s) and occasionally even nomadic BKK Radnički, which at one time or another played its home games in just about every spot within Belgrade city limits that has two hoops and a roof.\n\nIn addition to basketball, various handball, boxing, karate, aikido, and judo teams trained and hosted matches and events in Hala.\n\nConcerts\nAlong with sports, Hala has played host to many shows by a variety of musical acts. They include:\n\nSee also\nList of indoor arenas in Serbia\n\nReferences\n\nIndoor arenas in Serbia\nBasketball venues in Serbia\nBuildings and structures in Belgrade\nSports venues in Belgrade\nBuildings and structures completed in 1968\nKK Crvena Zvezda home arenas\nKK Mega Basket home arenas\nNew Belgrade", "Vlade Divac (, ; born February 3, 1968) is a Serbian professional basketball executive and former player who was most recently the vice president of basketball operations and general manager of the Sacramento Kings of the National Basketball Association (NBA).\n\nDivac spent most of his playing career in the NBA. At , he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition. He was elected to the Naismith Memorial Basketball Hall of Fame in 2019.\n\nDivac is a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a four-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame.\n\nProfessional career\n\nSloga (1983–1986) \nDivac began playing basketball in his home town Prijepolje for the team KK Elan. He began his professional career in Yugoslavia playing for Sloga from Kraljevo, and was immediately noted for scoring 27 points against Crvena zvezda.\n\nPartizan (1986–1989) \nIn the summer of 1986, Divac was the top star of the basketball transfer season, and he ended up signing with KK Partizan for DM14,000.\n\nIn the 1986-87 Yugoslav First League season, with players like Divac, Aleksandar Đorđević, Žarko Paspalj, Željko Obradović, and with coach Duško Vujošević at the helm, Partizan had a \"dream team\", which won the Yugoslavian League title. In the subsequent 1987-88 FIBA European Champions Cup season (now called EuroLeague), the club failed to reach the top of the EuroLeague, after having lost to Maccabi Tel Aviv in the semifinal in Ghent. Jugoplastika, with Dino Rađa and Toni Kukoč, was a stronger team in the subsequent three years, reigning both in Yugoslavia and in Europe.\n\nDivac had an unusual style compared to most other centers of his generation: despite his height, he possessed good mobility, had good control of the ball, and was a decent shooter. On occasion, he would also act as a play maker. His trademark moves included a mid-range shot at the top of the key and flip shots around the rim, while facing the complete opposite direction. His quirky moves complemented how he liked playing gags on the court: in the 1989 EuroBasket, he lifted teammate Zoran Radović for a slam dunk. In just four professional seasons in Europe, he became the most sought-after big man on the continent, after Arvydas Sabonis.\n\nLos Angeles Lakers (1989–1996) \nDrafted into the NBA in 1989 by the Los Angeles Lakers, Divac became one of the first European players to have an impact in the league. Under the mentorship of Kareem Abdul-Jabbar and Magic Johnson, he improved his play and adapted to the American style of basketball. Though he spoke no English, he quickly became popular among his teammates and the public for his charm and joviality. In the 1989–90 season, he was selected into the NBA All-Rookie Team.\n\nDivac earned a reputation for flopping, or deceiving the officials into calling a foul on the other team by purposely falling to the floor upon contact with an opposing player. Veteran NBA forward P.J. Brown claimed that Divac might have been the best of all time at flopping. Divac freely admitted doing so, adding that he usually did it when he felt like the officials had missed some calls and owed him. However, when the NBA instituted anti-flopping penalties in 2012, Divac expressed his support for such rules, stating that he felt players after him were \"overdo[ing] it\" with respect to flopping. Ian Thomsen, a Sports Illustrated columnist, grouped Divac with fellow international players Anderson Varejão and Manu Ginóbili as the players who \"made [flopping] famous\", exaggerating contact on the court in a manner analogous to diving in FIBA games.\n\nCharlotte Hornets (1996–1998) \n\nOn July 1, 1996, Divac was traded to the Charlotte Hornets for the draft rights to Kobe Bryant and played two seasons there until signing with the Sacramento Kings in July 1998.\n\nCrvena zvezda (1999)\nDuring the 1998–99 NBA lockout, in January 1999, Divac played 2 games for Partizan's eternal rival KK Crvena zvezda, in the 1998–99 EuroLeague season.\n\nHis debut for the crveno-beli took place mid-season, on Orthodox Christmas, versus a heavily favoured Žalgiris side led by Tyus Edney, Mindaugas Žukauskas, Saulius Štombergas, and Jiří Zídek Jr. Supported by a raucous home crowd and energized by Divac's arrival, as well as his 16 points and 8 rebounds, Crvena zvezda pulled off a 77–69 memorable upset win.\n\nDivac's brief stint with Crvena zvezda, for which he reportedly got paid US$250,000 per game, immediately became a sore point with KK Partizan fans, who unfurled a banner calling him a traitor, at their club's next game.\n\nThe issue of playing for the hated cross-town rival reignited several years later, when Divac returned to KK Partizan as club president. At the time, he stated his decision to play for Crvena zvezda was \"a mistake\".\n\nSacramento Kings (1999–2004) \nOn January 22, 1999, Divac signed a six-year, $62.5 million contract as a free agent with the Sacramento Kings, where he played for six seasons alongside fellow countryman Peja Stojaković. Teamed with Stojaković, Hedo Türkoğlu, Chris Webber and Mike Bibby, Divac revitalized the Sacramento Kings franchise. The Kings rose in the NBA ranks, becoming a perennial playoff contender and eventually a championship contender, leading the league in wins in 2001-02. The Kings, however, could not get past the Los Angeles Lakers, who beat them controversially in a 7-game series in 2002, which has later been dubbed by some as the 'greatest tragedy in sports history'.\n\nReturn to the Lakers (2004–2005) \nAfter the 2003–04 NBA season, Divac became a free agent. On July 20, 2004, he signed a two-year contract to return to the Lakers, part of Mitch Kupchak's plan to overhaul Laker basketball. The Lakers, following a defeat in the NBA Finals, had traded away or released most of their players, including Shaquille O'Neal, Gary Payton, Karl Malone, Derek Fisher, and more; Divac was supposed to help fill that void.\n\nHowever, Divac suffered back problems and could not play most of the season, and even when he returned, could only play about nine minutes per game, averaging 2.3 points per game and 2.1 rebounds per game in 15 games, he played 8 games early in the season and 7 more in the final month of the season.\n\nOn July 14, 2005, 37-year-old Divac announced his retirement, ending his 16-year NBA and 22-year professional basketball career. Divac accepted a position with the Lakers as a European liaison to help with scouting overseas.\n\nThe Kings retired Divac's No. 21 jersey in a ceremony on March 31, 2009. Over his 16 years in the NBA, Divac earned over $93 million in salary. In September 2009, he played for the \"NBA Generations\" team in the 2009 NBA Asia Challenge, a series of exhibitions against Korean Basketball League and Philippine Basketball Association players.\n\nNational team career\n\nIn summer 1986, at 18, right after signing for KK Partizan, Divac debuted for the senior Yugoslavia national basketball team at the 1986 FIBA World Championship in Madrid, on invitation by the head coach Krešimir Ćosić. However, the excellent rookie's performance was spoiled by the event in the semi-finals against the Soviet Union. Forty-five seconds before the end, Yugoslavia had a comfortable lead of 9 points, but the Soviets scored two three-pointers within a few seconds and cut the difference to 3 points. Yugoslavia tried to hold the ball for the remaining time, opting to continue the play with throw-ins instead of free throws following fouls, but with only 14 seconds left, Divac committed a double dribble, the Soviets were awarded the ball, and tied the score with another three-pointer. In the overtime, the Soviets won by 1 point and Yugoslavs had to be content with the bronze.\n\nThe next year, Divac participated in the team that took the gold at the 1987 FIBA Junior World Championship (which was later split into separate under-19 and under-21 events) in Bormio, Italy. That event launched the young generation of Yugoslavian basketball players, also featuring stars like Rađa and Kukoč, regarded as likely the best in history. Before the breakup of Yugoslavia, they would also take the titles at EuroBasket 1989 and the 1990 FIBA World Championship in Argentina, where they were led by Dražen Petrović, as well as the EuroBasket 1991 title, with Aleksandar Đorđević at point guard.\n\nWhen Yugoslavia won the gold in the 1990 FIBA World Championship, fans rushed onto the court. One of them was holding a Croatian flag, one of the six republics that made up Yugoslavia. Divac claims that he told the man that he should not be waving that flag, since this was a win for Yugoslavia. Divac claims the man made a derogatory remark about the Yugoslav flag, at which point Divac took his flag from him. This happened during a very tense time where nationalistic pride was threatening to tear Yugoslavia apart and ignite a war. The taking of the flag made Divac a hero to Serbs, and a villain to Croatians. Divac has stated that he did not mean it as an act against Croatia and he would have taken away a Serbian flag if a Serb fan had done the same.\n\nThis action, along with the Yugoslav Wars, alienated Divac from many of his former Croatian friends, particularly Dražen Petrović, whom he considered his best friend. When FR Yugoslavia won the gold medal at the EuroBasket 1995, and Croatia won bronze, Croatia, still at war with Serbs from Croatia, walked off the podium during the medal ceremony. The teams had not faced each other in the tournament.\n\nNBA career statistics\n\nRegular season\n\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 82 \|\| 5 \|\| 19.6 \|\| .499 \|\| .000 \|\| .708 \|\| 6.2 \|\| 0.9 \|\| 1.0 \|\| 1.4 \|\| 8.5\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 82 \|\| 81 \|\| 28.2 \|\| .565 \|\| .357 \|\| .703 \|\| 8.1 \|\| 1.1 \|\| 1.3 \|\| 1.5 \|\| 11.2\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 36 \|\| 18 \|\| 27.2 \|\| .495 \|\| .263 \|\| .768 \|\| 6.9 \|\| 1.7 \|\| 1.5 \|\| 1.0 \|\| 11.3\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 82 \|\| 69 \|\| 30.8 \|\| .485 \|\| .280 \|\| .689 \|\| 8.9 \|\| 2.8 \|\| 1.6 \|\| 1.7 \|\| 12.8\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 79 \|\| 73 \|\| 34.0 \|\| .506 \|\| .191 \|\| .686 \|\| 10.8 \|\| 3.9 \|\| 1.2 \|\| 1.4 \|\| 14.2\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 80 \|\| 80 \|\| 35.1 \|\| .507 \|\| .185 \|\| .777 \|\| 10.4\|\| 4.1 \|\| 1.4 \|\| 2.2 \|\| 16.0\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 79 \|\| 79 \|\| 31.3 \|\| .513 \|\| .167 \|\| .641 \|\| 8.6 \|\| 3.3 \|\| 1.0 \|\| 1.7 \|\| 12.9\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Charlotte\n\| 81 \|\| 80 \|\| 35.1 \|\| .494 \|\| .234 \|\| .683 \|\| 9.0 \|\| 3.7 \|\| 1.3 \|\| 2.2 \|\| 12.6\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Charlotte\n\| 64 \|\| 41 \|\| 28.2 \|\| .498 \|\| .214 \|\| .691 \|\| 8.1 \|\| 2.7 \|\| 1.3 \|\| 1.5 \|\| 10.4\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Sacramento\n\| 50 \|\| 50 \|\| 35.2 \|\| .470 \|\| .256 \|\| .702 \|\| 10.0 \|\| 4.3 \|\| 0.9 \|\| 1.0 \|\| 14.3\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Sacramento\n\| 82 \|\| 81 \|\| 29.0 \|\| .503 \|\| .269 \|\| .691 \|\| 8.0 \|\| 3.0 \|\| 1.3 \|\| 1.3 \|\| 12.3\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Sacramento\n\| 81 \|\| 81 \|\| 29.9 \|\| .482 \|\| .286 \|\| .691 \|\| 8.3 \|\| 2.9 \|\| 1.1 \|\| 1.1 \|\| 12.0\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Sacramento\n\| 80 \|\| 80 \|\| 30.3 \|\| .472 \|\| .231 \|\| .615 \|\| 8.4 \|\| 3.7 \|\| 1.0 \|\| 1.2 \|\| 11.1\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Sacramento\n\| 80 \|\| 80 \|\| 29.8 \|\| .466 \|\| .240 \|\| .713 \|\| 7.2 \|\| 3.4 \|\| 1.0 \|\| 1.3 \|\| 9.9\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| Sacramento\n\| 81 \|\| 81 \|\| 28.6 \|\| .470 \|\| .154 \|\| .654 \|\| 5.7 \|\| 5.3 \|\| 0.7 \|\| 0.1 \|\| 9.9\n\|-\n\| style=\"text-align:left;\"\| \n\| style=\"text-align:left;\"\| LA Lakers\n\| 15 \|\| 0 \|\| 8.7 \|\| .419 \|\| .000 \|\| .667 \|\| 2.1 \|\| 1.3 \|\| 0.3 \|\| 0.1 \|\| 2.3\n\|-class=\"sortbottom\"\n\| style=\"text-align:center;\" colspan=\"2\"\| Career\n\| 1134 \|\| 979 \|\| 29.8 \|\| .495 \|\| .235 \|\| .692 \|\| 8.2 \|\| 3.1 \|\| 1.1 \|\| 1.4 \|\| 11.8\n\|- class=\"sortbottom\"\n\| style=\"text-align:center;\" colspan=\"2\"\| All-Star\n\| 1 \|\| 0 \|\| 9.0 \|\| .667 \|\| .000 \|\| – \|\| 6.0 \|\| 1.0 \|\| 2.0 \|\| 0.0 \|\| 8.0\n\nPlayoffs\n\n\|-\n\| style=\"text-align:left;\"\| 1990\n\| style=\"text-align:left;\"\| LA Lakers\n\| 9 \|\| 1 \|\| 19.4 \|\| .727 \|\| .500 \|\| .895 \|\| 5.3 \|\| 1.1 \|\| 0.9 \|\| 1.7 \|\| 9.1\n\|-\n\| style=\"text-align:left;\"\| 1991\n\| style=\"text-align:left;\"\| LA Lakers\n\| 19 \|\| 19 \|\| 32.1 \|\| .564 \|\| .167 \|\| .803 \|\| 6.7 \|\| 1.1 \|\| 1.4 \|\| 2.2 \|\| 13.3\n\|-\n\| style=\"text-align:left;\"\| 1992\n\| style=\"text-align:left;\"\| LA Lakers\n\| 4 \|\| 4 \|\| 35.8 \|\| .349 \|\| .000 \|\| .900 \|\| 5.5 \|\| 3.8 \|\| 1.3 \|\| 0.8 \|\| 9.8\n\|-\n\| style=\"text-align:left;\"\| 1993\n\| style=\"text-align:left;\"\| LA Lakers\n\| 5 \|\| 5 \|\| 33.4 \|\| .500 \|\| .444 \|\| .545 \|\| 9.4 \|\| 5.6 \|\| 1.2 \|\| 2.4 \|\| 18.0\n\|-\n\| style=\"text-align:left;\"\| 1995\n\| style=\"text-align:left;\"\| LA Lakers\n\| 10 \|\| 10 \|\| 38.8 \|\| .467 \|\| .222 \|\| .645 \|\| 8.5 \|\| 3.1 \|\| 0.8 \|\| 1.3 \|\| 15.6\n\|-\n\| style=\"text-align:left;\"\| 1996\n\| style=\"text-align:left;\"\| LA Lakers\n\| 4 \|\| 4 \|\| 28.8 \|\| .429 \|\| .200 \|\| .625 \|\| 7.5 \|\| 2.0 \|\| 0.0 \|\| 1.3 \|\| 9.0\n\|-\n\| style=\"text-align:left;\"\| 1997\n\| style=\"text-align:left;\"\| Charlotte\n\| 3 \|\| 3 \|\| 38.7 \|\| .457 \|\| .000 \|\| .800 \|\| 8.7 \|\| 3.3 \|\| 1.0 \|\| 2.0 \|\| 18.0\n\|-\n\| style=\"text-align:left;\"\| 1998\n\| style=\"text-align:left;\"\| Charlotte\n\| 9 \|\| 9 \|\| 38.5 \|\| .483 \|\| .000 \|\| .606 \|\| 10.9 \|\| 3.4 \|\| 0.8 \|\| 1.6 \|\| 11.6\n\|-\n\| style=\"text-align:left;\"\| 1999\n\| style=\"text-align:left;\"\| Sacramento\n\| 5 \|\| 5 \|\| 39.6 \|\| .446 \|\| .200 \|\| .833 \|\| 10.0 \|\| 4.6 \|\| 1.6 \|\| 0.8 \|\| 16.2\n\|-\n\| style=\"text-align:left;\"\| 2000\n\| style=\"text-align:left;\"\| Sacramento\n\| 5 \|\| 5 \|\| 32.0 \|\| .357 \|\| .000 \|\| .696 \|\| 7.2 \|\| 2.8 \|\| 1.4 \|\| 0.8 \|\| 11.2\n\|-\n\| style=\"text-align:left;\"\| 2001\n\| style=\"text-align:left;\"\| Sacramento\n\| 8 \|\| 8 \|\| 28.1 \|\| .350 \|\| .333 \|\| .763 \|\| 8.4 \|\| 2.4 \|\| 1.0 \|\| 1.5 \|\| 10.8\n\|-\n\| style=\"text-align:left;\"\| 2002\n\| style=\"text-align:left;\"\| Sacramento\n\| 16 \|\| 16 \|\| 33.4 \|\| .464 \|\| .268 \|\| .755 \|\| 9.3 \|\| 1.7 \|\| 1.1 \|\| 1.3 \|\| 13.5\n\|-\n\| style=\"text-align:left;\"\| 2003\n\| style=\"text-align:left;\"\| Sacramento\n\| 12 \|\| 12 \|\| 26.4 \|\| .560 \|\| .000 \|\| .673 \|\| 5.8 \|\| 2.3 \|\| 0.7 \|\| 0.9 \|\| 11.4\n\|-\n\| style=\"text-align:left;\"\| 2004\n\| style=\"text-align:left;\"\| Sacramento\n\| 12 \|\| 12 \|\| 19.6 \|\| .437 \|\| .000 \|\| .739 \|\| 4.9 \|\| 1.8 \|\| 0.3 \|\| 0.4 \|\| 6.6\n\|-class=\"sortbottom\"\n\| style=\"text-align:center;\" colspan=\"2\"\| Career\n\| 121 \|\| 113 \|\| 30.8 \|\| .480 \|\| .241 \|\| .731 \|\| 7.5 \|\| 2.4 \|\| 1.0 \|\| 1.4 \|\| 12.1\n\nMajor career achievements\n\nKK Partizan\n Yugoslav League Champion: (1987)\n 1988 EuroLeague Final Four: 3rd Place\n Yugoslav Cup Winner: (1989)\n Korać Cup Winner: (1989)\n\nYugoslavia national team\n Earned gold medal with Yugoslavia's under-18 nationals at the 1985 FIBA Europe Under-16 Championship in Rousse, Bulgaria\n Earned gold medal with Yugoslavia's under-21 nationals at the 1986 FIBA Europe Under-18 Championship in Gmunden, Austria\n Earned gold medal with Yugoslavia's under-21 nationals at the 1987 FIBA Under-19 World Cup in Bormio, Italy, defeating the U.S. team twice in that tournament\n Earned silver medals in 1988 Summer Olympic Games (for SFR Yugoslavia) and 1996 Summer Olympic Games (for FR Yugoslavia)\n Earned gold medals with SFRY at the 1990 FIBA World Championship (Argentina) and with FRY at the 2002 FIBA World Championship (U.S.)\n Earned gold medals at EuroBasket in Zagreb 1989, and Rome 1991 (with SFRY), and in Athens 1995 (with FRY)\n\nNBA\n Named to the 1989–90 NBA All-Rookie First Team after averaging 8.5 ppg and 6.2 rpg for the Lakers\n Appeared in the 1991 NBA Finals against the Chicago Bulls and averaged 12.1 ppg, 7.5 rpg and 2.4 apg in 121 career NBA Playoff games\n Ranks 4th in Lakers franchise history with 830 blocked shots\n Ranked 2nd on the Kings in scoring (14.3 ppg), rebounds (10.0 rpg, 10th in the NBA), assists (4.3 apg) and blocked shots (1.02 bpg) in 1998–99\n Named NBA All-Star, 2001\n One of only five basketball players born and trained in Europe to play at least 1,000 NBA games (1,134; along with Dirk Nowitzki, Tony Parker, Pau Gasol, Boris Diaw)\n One of only four basketball players born and trained in Europe (Peja Stojaković, Dražen Petrović and Zydrunas Ilgauskas are the others) to have his number retired by an NBA team\n\nAdministrative career\nThrough the twilight of his playing career and afterwards, Divac focused on three fields: humanitarian work, sport management, and investment.\n\nKK Partizan president\nIn late 2000, following the overthrow of Slobodan Milošević whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilović took over their former club KK Partizan. They did so on initiative by Ivica Dačić, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milošević, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from régime change, Dačić saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilović took the vice-president role.\n\nFreshly retired from playing, Danilović was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000–01 season before they decided in summer 2001 to bring back their mentor Duško Vujošević to be the new head coach.\n\nThough the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports was passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan was not and still is not really clear, potential investors decided to stay away, at least until the law came into effect. Divac and Danilović appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards.\n\nLA Lakers scout\nIn October 2005, right after ending his playing career with the Los Angeles Lakers, Divac got hired as the Lakers' European scout, reporting directly to the team's general manager Mitch Kupchak. He left the position in 2006.\n\nReal Madrid Baloncesto club management\nIn June 2006, through his friendship with Predrag Mijatović, Divac linked up with Ramón Calderón as part of the lawyer's candidate bid for the presidency of Real Madrid. When Calderón closely won the club elections on July 2, 2006, Divac was announced as the head of operations at Real Madrid basketball club though the scope of his job description soon got reduced to consulting duties as president Calderón's adviser for basketball and club's international coordinator.\n\nHowever, Divac's role in the club's day-to-day operations turned out to be largely symbolic, and he even admitted as much in a March 2007 interview for Croatian weekly Globus: \"I literally do nothing and I only serve as part of the royal club'''s image. I only accepted the job because of Mijatović, who is currently the football director at Real\". By the end of 2007, following a financial settlement between the two parties, Divac moved on from the post for which he had been reportedly receiving an annual compensation of €300,000.\n\nSerbian Deputy Prime Minister's adviser\nIn October 2008, Divac's political advisory engagement within the Serbian government as the sports, diaspora, and humanitarian advisor to the Deputy Prime Minister and Internal Affairs Minister Ivica Dačić, got announced.\n\nOlympic Committee of Serbia president\nDivac was proposed in 2000 as Yugoslavia's candidate for the Sport Commission of the International Olympic Committee in spring 2000. This candidature was withdrawn under pressure from Milošević regime. In February 2009, Divac ran for presidency of the Olympic Committee of Serbia against incumbent president Ivan Ćurković. He won the race after Ćurković withdrew just before the scheduled voting. In November 2012, he was re-elected as the sole candidate; the end of his second mandate coincides with the 2016 Summer Olympics in Rio de Janeiro.\n\nIn December 2014, Kosovo was accepted as a full member of the International Olympic Committee. Divac and the Serbian Olympic Committee have been criticised, chiefly by the Democratic Party of Serbia, for failing to take any effort to prevent that. Divac stated that he is not happy with the decision of the IOC, but could not have prevented it as it had already been made, and said he would accept it \"in the interest of the athletes\".\n\nOn May 9, 2017, he was succeeded by Serbian former basketball coach Božidar Maljković on position of the president of Olympic Committee of Serbia.\n\nSacramento Kings front office\nInitial advisory role\nIn early March 2015, Divac was hired by the Sacramento Kings as their vice president of basketball and franchise operations. Brought into the organization by the principal owner Vivek Ranadivé towards the end of a turbulent season, Divac's arrival came in the wake of head coach Mike Malone's firing and the eventual hiring of George Karl. Working alongside the team's general manager Pete D'Alessandro, Divac's initial duties with the Kings were reported to be advising the front office and coaches as well as assisting with branding and fan outreach. However, such broadly defined job responsibilities immediately led to press speculation about Divac's role within the organization that in addition to general manager D'Alessandro also featured assistant GM Mike Bratz, special assistant to the GM Mitch Richmond, director of player personnel and analytics Dean Oliver, adviser to the chairman Chris Mullin, as well as a head coach, Karl, who has always wanted to be involved in personnel issues. Within a month of Divac's hiring, ESPN's Marc Stein reported that \"despite the Kings not yet announcing their new power structure, Divac is indeed already regarded as the team's top basketball official by owner Ranadivé\".\n\nOn June 10, 2015, two weeks before the NBA draft, general manager D'Alessandro left the Kings by accepting a front-office position with the Denver Nuggets amid reports he did so due to being stripped of his decision-making power after Ranadivé hired Divac.\n\nOnly days before the draft, animosity between head coach Karl and the team's star center DeMarcus Cousins reignited, as Karl reportedly lobbied Divac, as well as multiple players on the Kings' roster, in order to make the case to owner Ranadive that Cousins needs to be traded. As a result, against the backdrop of Cousins calling Karl a \"snake\" on Twitter, Divac reportedly discussed multiple Cousins trade scenarios with various teams, but ultimately no deal got made. At the 2015 NBA draft, with the 6th pick, the Kings selected 21-year-old center Willie Cauley-Stein out of Kentucky. Less than a week following the draft, with the dissolution of the Karl—Cousins relationship on public display, the Kings' ultimately unsuccessful attempt at landing University of Kentucky head coach John Calipari to replace Karl was reported.\n\nIn early July 2015, in an effort of clearing salary cap space in order to immediately go after free agents, the Kings agreed to a trade with the Philadelphia 76ers, sending Nik Stauskas, Carl Landry, and Jason Thompson, along with the Kings' future first round draft pick to the Sixers as well as the rights to swap first round picks in 2016 and 2017 while receiving the rights to Sixers overseas players Artūras Gudaitis and Luka Mitrović in return. Two days later, they announced the acquisitions of two free agents: 29-year-old Marco Belinelli on a three-year US$19 million contract and 29-year-old point guard Rajon Rondo for one year for US$10 million. This was followed by signing twenty-six-year-old center Kosta Koufos for four years and US$33 million with his role envisioned as the backup for Cousins.\n\nWith the free agent signings done, Divac turned his attention to attempting to mend the relations between the team's head coach Karl and its star center Cousins ahead of the 2015-16 season, admitting publicly on July 9, 2015 on CBS Sports Radio's The Jim Rome Show that the relationship between the two \"isn't pretty right now\". A few days later, on July 13, 2015, during a 2015 NBA Summer League game in Las Vegas, the two shared an awkward on-camera handshake as Karl approached and Cousins reluctantly shook the coach's hand before turning away. Later that week, Divac summoned Cousins and Karl to a private counseling session.\n\nGeneral manager\nDivac was promoted to the Kings' vice president of basketball operations and general manager on August 31, 2015.\n\nAmid a tense and incident-filled season that saw the team briefly reach the final playoff spot in the Western Conference before unravelling with extended losing streaks in late January and early February 2016, the organization reportedly made a decision to fire their head coach George Karl during the upcoming All-Star break, a move pushed for by Divac. However, in a quick about-face, Karl got retained after meeting with Divac and reportedly pledging to make changes to address concerns within the organization about his defensive schemes and practice policies. It was later reported that the move to fire Karl on this occasion got scuttled by the Kings minority owners over financial concerns. A month and a half later, in late March 2016, Divac signed a multi-year contract extension with the organization. The team finished the season 33–49, eight games out of the playoffs, good for 10th spot in the Western Conference. Their final season in Sleep Train Arena, the team's home since 1988, it was also their first 30 plus win campaign after seven consecutive seasons of fewer than 30 wins.\n\nEarly into the team's offseason, in mid April 2016, the Kings organization fired head coach Karl, a decision made by Divac who had reportedly been pushing for it for months. Within three weeks, during which Divac interviewed head coaching candidates Sam Mitchell, Vinny Del Negro, Mike Woodson, David Blatt, Mark Jackson, Jeff Hornacek, Nate McMillan, Patrick Ewing, Elston Turner, and Corliss Williamson, the Kings hired Dave Joerger as their new head coach, signing him to a four-year deal worth US$16 million. At the 2016 NBA draft, with the 8th pick, the Kings selected Marquese Chriss out of the University of Washington, but traded him to the Phoenix Suns for rights to Bogdan Bogdanović as well as the Suns' 2016 draft 13th and 28th picks, Georgios Papagiannis and Skal Labissière, respectively.\n\nAt the 2017 NBA draft, with the 5th pick, the Kings selected point guard De'Aaron Fox out of Kentucky. At the 2018 NBA draft, the Kings selected Marvin Bagley III with the second overall pick, passing on Luka Dončić who would become a MVP candidate within two years into his NBA career. In 2018–19 season the Sacramento Kings finished 9th in the Western conference. However, the season was evaluated as successful for the Kings.\n\nThe 2019–20 NBA season was suspended in March as a result of the COVID-19 pandemic, and the Sacramento Kings were invited to the 22-team 2020 NBA Bubble. However, the Kings did not manage to qualify for the playoffs, their 14th consecutive season without a playoff appearance, and finished the season with a 31–41 record. Shortly thereafter, on August 14, 2020, Divac stepped down as general manager.\n\nInvestments\nDivac has been involved in many non-basketball endeavors while still actively playing in the NBA, and more so after he retired. He is an active restaurant investor in the Sacramento, California area. However, his attempts to make major investments in Serbia failed, for a variety of reasons.\n\nThe most notable affair was a highly publicized business venture—takeover bid of profitable beverage producer Knjaz Miloš. Divac's company \"Apurna\", in a joint venture with French dairy giant Danone, ostensibly proposed the best bid, but the takeover was aborted by the Serbia's Securities Commission, because Danone/Apurna allegedly offered extra money to small shareholders.\nIn the repeated bid, Divac and Danone eventually withdrew and the sale went to FPP Balkan Ltd., a privatization fund from the Cayman Islands. The entire messy affair caused great friction within the Serbian government, wide speculation about corruption, resignation of the Securities Commission chief, and even a police investigation.\n\nAnother similar, though less spectacular, episode happened with 2005 Divac's attempt to take over the Večernje novosti, a Serbian high-circulation daily. He made an agreement with small shareholders to take over the company by means of registering a new company with joint capital, which would increase the share capital. However, the Serbian Government intervened and halted what should have been a mere technical move. While the attempted takeover was a \"backdoor\" one indeed, it was legal and similar cases had already occurred. The government ostensibly feared lack of control over the influential daily. Even though the Supreme Court of Serbia eventually ruled in Divac's favor, he withdrew from the contest, citing \"friendly advice\" by unnamed persons. Embittered, he decided to stop his attempts to invest in Serbia: \"All of this is ugly and I'm very upset... I realized that there's no place for me in Serbia and my friends can meet me in Madrid from now on... In Serbia, some different rules are in effect, and I can't conceive them\".\n\nHowever, that turned out not to be true, as in October 2007 Divac got legally registered as the 100% owner of Voda Voda, a bottled water brand previously owned by businessman Vojin Đorđević. That transaction was also followed by a stir of controversy, as Đorđević publicly accused Divac of deceit, asserting that he broke a gentlemen's agreement they had, and questioning the validity of the contract that Divac presented to the Serbian Business Registers Agency. The circumstances surrounding the deal (as of November 2007) are still unclear: Divac claims that he indeed loaned some money to Đorđević's Si&Si company, which was in financial trouble, and after Đorđević failed to fulfill his part of the deal, just used the contract, already properly signed by Đorđević, to claim ownership of the company.\n\nHumanitarian work\n\nDivac is a humanitarian worker, focusing on aid to children worldwide and refugees in his home country. Along with six Serbian basketball teammates, Divac established the charity called Group Seven, later renamed to \"Divac's Children Foundation\", and works closely with International Orthodox Christian Charities (IOCC), helping them to raise around US$500,000 for humanitarian assistance in Serbia since 1997. Divac's own foundation, presided by his wife Snežana, provided over $2,500,000 in humanitarian assistance through 1998–2007.\n\nIn 2000, the NBA named Divac as the recipient of the J. Walter Kennedy Citizenship Award. The honor is presented annually to a player, coach or athletic trainer who shows outstanding service and dedication to the community.\n\nIn late 2007, Divac founded a humanitarian organization, \"You Can Too\" (Serbian: Можеш и ти/Možeš i ti), with the goal of restoring abandoned homes in villages throughout Serbia and Africa, thereby providing shelter for homeless refugees. Around 7,800 of those people still live in collective centers under poor conditions, so the organization has employed itself to buy abandoned countryside houses, in an attempt to finally solve their accommodation problem.\n\nFrom September 21 to 23, 2007, Divac organized an official farewell from his active basketball career in his hometown Prijepolje and Belgrade, simultaneously promoting the \"You Can Too\" campaign. The spectacle culminated in a gathering of Divac and his worldwide friends in front of 10,000 people outside the National Assembly building.\n\nIn popular culture\nIn the early 1990s, the song \"Vlade Divac\" by Belgrade band Deca Loših Muzičara, devoted to his move to the Lakers, was a big hit; the band finally got to personally meet Divac and perform the song with him on his farewell party in 2007.\n\nDuring his time with the Lakers, Divac's popularity and marketing potential, in addition to his entertaining and good-natured personality, were picked up on by the American TV industry. As a result, he appeared quite a few times on Los Angeles-based late night programmes such as The Arsenio Hall Show and The Tonight Show with Jay Leno. In 1990, he was featured in a commercial with Laker teammates A. C. Green and Mychal Thompson for the Schick brand razor company. He also appeared in American sitcoms Married... with Children and Coach, as well as in the short lived Good Sports sitcom. On the big screen Divac took part in basketball-based movies Eddie, Space Jam and Juwanna Mann. Later in his career, he appeared on Larry King Live in 1999 and The Late Late Show in 2002.\n\nIn Serbia, throughout his playing career, Divac regularly appeared in commercials pitching products ranging from Atlas Beer to Société Générale mortgage credit plans. He appeared in a national TV commercial in the United States alongside former NBA star Darryl Dawkins for Taco Bell.\n\nDivac appeared as a special guest on Eurovision 2008. He threw a ball into the audience, which marked the beginning of televoting.\n\nDivac features in the ESPN 30 for 30 documentary Once Brothers, where he discusses the exploits of the Yugoslavia national basketball team in the late 1980s and early 1990s and how the Yugoslav Wars tore them apart, especially in context of his broken friendship with Croatian player Dražen Petrović.\n\nDivac appears in Boris Malagurski's documentary film The Weight of Chains'', in which he talks about the 1999 NATO bombing of Yugoslavia.\n\nPersonal life\nDivac and his wife, Snežana, have two sons, Luka and Matija, and an adopted daughter, Petra, whose biological parents were killed by Kosovo Liberation Army snipers. On January 7, 2014, Divac's father Milenko died after injuries sustained in a car accident.\n\nFilmography\n\nFilm\n\nSelected television\n\nSee also\nList of National Basketball Association career blocks leaders\nList of National Basketball Association players with 10 or more blocks in a game\nList of Serbian NBA players\n\nNotes\n\nReferences\n\nFurther reading\n\nExternal links\n\nEuroleague.net 50 greatest contributors\n \n\n1968 births\nLiving people\nBasketball players at the 1988 Summer Olympics\nBasketball players at the 1996 Summer Olympics\nCenters (basketball)\nCharlotte Hornets players\nFIBA EuroBasket-winning players\nFIBA Hall of Fame inductees\nFIBA World Championship-winning players\nKK Crvena zvezda players\nKK Partizan players\nKK Sloga players\nLos Angeles Lakers draft picks\nLos Angeles Lakers players\nLos Angeles Lakers scouts\nMedalists at the 1988 Summer Olympics\nMedalists at the 1996 Summer Olympics\nNaismith Memorial Basketball Hall of Fame inductees\nNational Basketball Association All-Stars\nNational Basketball Association general managers\nNational Basketball Association players from Serbia\nNational Basketball Association players with retired numbers\nNational Basketball Association scouts from Europe\nOlympic basketball players of Yugoslavia\nOlympic medalists in basketball\nOlympic silver medalists for Yugoslavia\nOlympic silver medalists for Serbia and Montenegro\nPeople from Prijepolje\nRecipients of the Olympic Order\nRecipients of the Order of St. Sava\nSacramento Kings players\nSacramento Kings executives\nSerbian basketball scouts\nSerbian businesspeople\nSerbian basketball executives and administrators\nSerbian expatriate basketball people in the United States\nSerbian men's basketball players\nUniversiade gold medalists for Yugoslavia\nUniversiade medalists in basketball\nYugoslav expatriate sportspeople in the United States\nYugoslav men's basketball players\n1990 FIBA World Championship players\n2002 FIBA World Championship players\n1986 FIBA World Championship players\nMedalists at the 1987 Summer Universiade" ]
[ "Vlade Divac", "KK Partizan", "what is the connection between divac and kk partizan", "Divac and former teammate Predrag Danilovic took over their former club KK Partizan." ]	C_ae1a7ce0b4144088b0f2ad1f39380eb4_0	when did he start playing for kk partizan	2	when did Vlade Divac start playing for kk partizan	Vlade Divac	In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilovic took over their former club KK Partizan. They did so on initiative by Ivica Dacic, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milosevic, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from regime change, Dacic saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilovic took the vice-president role. Freshly retired from playing, Danilovic was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000-01 season before they decided in summer 2001 to bring back their mentor Dusko Vujosevic to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports gets passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan wasn't and still isn't really clear, potential investors decided to stay away, at least until the law appears. Divac and Danilovic appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end-goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. CANNOTANSWER	In late 2000,	Vlade Divac (, ; born February 3, 1968) is a Serbian professional basketball executive and former player who was most recently the vice president of basketball operations and general manager of the Sacramento Kings of the National Basketball Association (NBA). Divac spent most of his playing career in the NBA. At , he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition. He was elected to the Naismith Memorial Basketball Hall of Fame in 2019. Divac is a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a four-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame. Professional career Sloga (1983–1986) Divac began playing basketball in his home town Prijepolje for the team KK Elan. He began his professional career in Yugoslavia playing for Sloga from Kraljevo, and was immediately noted for scoring 27 points against Crvena zvezda. Partizan (1986–1989) In the summer of 1986, Divac was the top star of the basketball transfer season, and he ended up signing with KK Partizan for DM14,000. In the 1986-87 Yugoslav First League season, with players like Divac, Aleksandar Đorđević, Žarko Paspalj, Željko Obradović, and with coach Duško Vujošević at the helm, Partizan had a "dream team", which won the Yugoslavian League title. In the subsequent 1987-88 FIBA European Champions Cup season (now called EuroLeague), the club failed to reach the top of the EuroLeague, after having lost to Maccabi Tel Aviv in the semifinal in Ghent. Jugoplastika, with Dino Rađa and Toni Kukoč, was a stronger team in the subsequent three years, reigning both in Yugoslavia and in Europe. Divac had an unusual style compared to most other centers of his generation: despite his height, he possessed good mobility, had good control of the ball, and was a decent shooter. On occasion, he would also act as a play maker. His trademark moves included a mid-range shot at the top of the key and flip shots around the rim, while facing the complete opposite direction. His quirky moves complemented how he liked playing gags on the court: in the 1989 EuroBasket, he lifted teammate Zoran Radović for a slam dunk. In just four professional seasons in Europe, he became the most sought-after big man on the continent, after Arvydas Sabonis. Los Angeles Lakers (1989–1996) Drafted into the NBA in 1989 by the Los Angeles Lakers, Divac became one of the first European players to have an impact in the league. Under the mentorship of Kareem Abdul-Jabbar and Magic Johnson, he improved his play and adapted to the American style of basketball. Though he spoke no English, he quickly became popular among his teammates and the public for his charm and joviality. In the 1989–90 season, he was selected into the NBA All-Rookie Team. Divac earned a reputation for flopping, or deceiving the officials into calling a foul on the other team by purposely falling to the floor upon contact with an opposing player. Veteran NBA forward P.J. Brown claimed that Divac might have been the best of all time at flopping. Divac freely admitted doing so, adding that he usually did it when he felt like the officials had missed some calls and owed him. However, when the NBA instituted anti-flopping penalties in 2012, Divac expressed his support for such rules, stating that he felt players after him were "overdo[ing] it" with respect to flopping. Ian Thomsen, a Sports Illustrated columnist, grouped Divac with fellow international players Anderson Varejão and Manu Ginóbili as the players who "made [flopping] famous", exaggerating contact on the court in a manner analogous to diving in FIBA games. Charlotte Hornets (1996–1998) On July 1, 1996, Divac was traded to the Charlotte Hornets for the draft rights to Kobe Bryant and played two seasons there until signing with the Sacramento Kings in July 1998. Crvena zvezda (1999) During the 1998–99 NBA lockout, in January 1999, Divac played 2 games for Partizan's eternal rival KK Crvena zvezda, in the 1998–99 EuroLeague season. His debut for the crveno-beli took place mid-season, on Orthodox Christmas, versus a heavily favoured Žalgiris side led by Tyus Edney, Mindaugas Žukauskas, Saulius Štombergas, and Jiří Zídek Jr. Supported by a raucous home crowd and energized by Divac's arrival, as well as his 16 points and 8 rebounds, Crvena zvezda pulled off a 77–69 memorable upset win. Divac's brief stint with Crvena zvezda, for which he reportedly got paid US$250,000 per game, immediately became a sore point with KK Partizan fans, who unfurled a banner calling him a traitor, at their club's next game. The issue of playing for the hated cross-town rival reignited several years later, when Divac returned to KK Partizan as club president. At the time, he stated his decision to play for Crvena zvezda was "a mistake". Sacramento Kings (1999–2004) On January 22, 1999, Divac signed a six-year, $62.5 million contract as a free agent with the Sacramento Kings, where he played for six seasons alongside fellow countryman Peja Stojaković. Teamed with Stojaković, Hedo Türkoğlu, Chris Webber and Mike Bibby, Divac revitalized the Sacramento Kings franchise. The Kings rose in the NBA ranks, becoming a perennial playoff contender and eventually a championship contender, leading the league in wins in 2001-02. The Kings, however, could not get past the Los Angeles Lakers, who beat them controversially in a 7-game series in 2002, which has later been dubbed by some as the 'greatest tragedy in sports history'. Return to the Lakers (2004–2005) After the 2003–04 NBA season, Divac became a free agent. On July 20, 2004, he signed a two-year contract to return to the Lakers, part of Mitch Kupchak's plan to overhaul Laker basketball. The Lakers, following a defeat in the NBA Finals, had traded away or released most of their players, including Shaquille O'Neal, Gary Payton, Karl Malone, Derek Fisher, and more; Divac was supposed to help fill that void. However, Divac suffered back problems and could not play most of the season, and even when he returned, could only play about nine minutes per game, averaging 2.3 points per game and 2.1 rebounds per game in 15 games, he played 8 games early in the season and 7 more in the final month of the season. On July 14, 2005, 37-year-old Divac announced his retirement, ending his 16-year NBA and 22-year professional basketball career. Divac accepted a position with the Lakers as a European liaison to help with scouting overseas. The Kings retired Divac's No. 21 jersey in a ceremony on March 31, 2009. Over his 16 years in the NBA, Divac earned over $93 million in salary. In September 2009, he played for the "NBA Generations" team in the 2009 NBA Asia Challenge, a series of exhibitions against Korean Basketball League and Philippine Basketball Association players. National team career In summer 1986, at 18, right after signing for KK Partizan, Divac debuted for the senior Yugoslavia national basketball team at the 1986 FIBA World Championship in Madrid, on invitation by the head coach Krešimir Ćosić. However, the excellent rookie's performance was spoiled by the event in the semi-finals against the Soviet Union. Forty-five seconds before the end, Yugoslavia had a comfortable lead of 9 points, but the Soviets scored two three-pointers within a few seconds and cut the difference to 3 points. Yugoslavia tried to hold the ball for the remaining time, opting to continue the play with throw-ins instead of free throws following fouls, but with only 14 seconds left, Divac committed a double dribble, the Soviets were awarded the ball, and tied the score with another three-pointer. In the overtime, the Soviets won by 1 point and Yugoslavs had to be content with the bronze. The next year, Divac participated in the team that took the gold at the 1987 FIBA Junior World Championship (which was later split into separate under-19 and under-21 events) in Bormio, Italy. That event launched the young generation of Yugoslavian basketball players, also featuring stars like Rađa and Kukoč, regarded as likely the best in history. Before the breakup of Yugoslavia, they would also take the titles at EuroBasket 1989 and the 1990 FIBA World Championship in Argentina, where they were led by Dražen Petrović, as well as the EuroBasket 1991 title, with Aleksandar Đorđević at point guard. When Yugoslavia won the gold in the 1990 FIBA World Championship, fans rushed onto the court. One of them was holding a Croatian flag, one of the six republics that made up Yugoslavia. Divac claims that he told the man that he should not be waving that flag, since this was a win for Yugoslavia. Divac claims the man made a derogatory remark about the Yugoslav flag, at which point Divac took his flag from him. This happened during a very tense time where nationalistic pride was threatening to tear Yugoslavia apart and ignite a war. The taking of the flag made Divac a hero to Serbs, and a villain to Croatians. Divac has stated that he did not mean it as an act against Croatia and he would have taken away a Serbian flag if a Serb fan had done the same. This action, along with the Yugoslav Wars, alienated Divac from many of his former Croatian friends, particularly Dražen Petrović, whom he considered his best friend. When FR Yugoslavia won the gold medal at the EuroBasket 1995, and Croatia won bronze, Croatia, still at war with Serbs from Croatia, walked off the podium during the medal ceremony. The teams had not faced each other in the tournament. NBA career statistics Regular season \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 5 \|\| 19.6 \|\| .499 \|\| .000 \|\| .708 \|\| 6.2 \|\| 0.9 \|\| 1.0 \|\| 1.4 \|\| 8.5 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 81 \|\| 28.2 \|\| .565 \|\| .357 \|\| .703 \|\| 8.1 \|\| 1.1 \|\| 1.3 \|\| 1.5 \|\| 11.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 36 \|\| 18 \|\| 27.2 \|\| .495 \|\| .263 \|\| .768 \|\| 6.9 \|\| 1.7 \|\| 1.5 \|\| 1.0 \|\| 11.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 69 \|\| 30.8 \|\| .485 \|\| .280 \|\| .689 \|\| 8.9 \|\| 2.8 \|\| 1.6 \|\| 1.7 \|\| 12.8 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 73 \|\| 34.0 \|\| .506 \|\| .191 \|\| .686 \|\| 10.8 \|\| 3.9 \|\| 1.2 \|\| 1.4 \|\| 14.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 80 \|\| 80 \|\| 35.1 \|\| .507 \|\| .185 \|\| .777 \|\| 10.4\|\| 4.1 \|\| 1.4 \|\| 2.2 \|\| 16.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 79 \|\| 31.3 \|\| .513 \|\| .167 \|\| .641 \|\| 8.6 \|\| 3.3 \|\| 1.0 \|\| 1.7 \|\| 12.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 81 \|\| 80 \|\| 35.1 \|\| .494 \|\| .234 \|\| .683 \|\| 9.0 \|\| 3.7 \|\| 1.3 \|\| 2.2 \|\| 12.6 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 64 \|\| 41 \|\| 28.2 \|\| .498 \|\| .214 \|\| .691 \|\| 8.1 \|\| 2.7 \|\| 1.3 \|\| 1.5 \|\| 10.4 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 50 \|\| 50 \|\| 35.2 \|\| .470 \|\| .256 \|\| .702 \|\| 10.0 \|\| 4.3 \|\| 0.9 \|\| 1.0 \|\| 14.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 82 \|\| 81 \|\| 29.0 \|\| .503 \|\| .269 \|\| .691 \|\| 8.0 \|\| 3.0 \|\| 1.3 \|\| 1.3 \|\| 12.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 29.9 \|\| .482 \|\| .286 \|\| .691 \|\| 8.3 \|\| 2.9 \|\| 1.1 \|\| 1.1 \|\| 12.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 30.3 \|\| .472 \|\| .231 \|\| .615 \|\| 8.4 \|\| 3.7 \|\| 1.0 \|\| 1.2 \|\| 11.1 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 29.8 \|\| .466 \|\| .240 \|\| .713 \|\| 7.2 \|\| 3.4 \|\| 1.0 \|\| 1.3 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 28.6 \|\| .470 \|\| .154 \|\| .654 \|\| 5.7 \|\| 5.3 \|\| 0.7 \|\| 0.1 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 15 \|\| 0 \|\| 8.7 \|\| .419 \|\| .000 \|\| .667 \|\| 2.1 \|\| 1.3 \|\| 0.3 \|\| 0.1 \|\| 2.3 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 1134 \|\| 979 \|\| 29.8 \|\| .495 \|\| .235 \|\| .692 \|\| 8.2 \|\| 3.1 \|\| 1.1 \|\| 1.4 \|\| 11.8 \|- class="sortbottom" \| style="text-align:center;" colspan="2"\| All-Star \| 1 \|\| 0 \|\| 9.0 \|\| .667 \|\| .000 \|\| – \|\| 6.0 \|\| 1.0 \|\| 2.0 \|\| 0.0 \|\| 8.0 Playoffs \|- \| style="text-align:left;"\| 1990 \| style="text-align:left;"\| LA Lakers \| 9 \|\| 1 \|\| 19.4 \|\| .727 \|\| .500 \|\| .895 \|\| 5.3 \|\| 1.1 \|\| 0.9 \|\| 1.7 \|\| 9.1 \|- \| style="text-align:left;"\| 1991 \| style="text-align:left;"\| LA Lakers \| 19 \|\| 19 \|\| 32.1 \|\| .564 \|\| .167 \|\| .803 \|\| 6.7 \|\| 1.1 \|\| 1.4 \|\| 2.2 \|\| 13.3 \|- \| style="text-align:left;"\| 1992 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 35.8 \|\| .349 \|\| .000 \|\| .900 \|\| 5.5 \|\| 3.8 \|\| 1.3 \|\| 0.8 \|\| 9.8 \|- \| style="text-align:left;"\| 1993 \| style="text-align:left;"\| LA Lakers \| 5 \|\| 5 \|\| 33.4 \|\| .500 \|\| .444 \|\| .545 \|\| 9.4 \|\| 5.6 \|\| 1.2 \|\| 2.4 \|\| 18.0 \|- \| style="text-align:left;"\| 1995 \| style="text-align:left;"\| LA Lakers \| 10 \|\| 10 \|\| 38.8 \|\| .467 \|\| .222 \|\| .645 \|\| 8.5 \|\| 3.1 \|\| 0.8 \|\| 1.3 \|\| 15.6 \|- \| style="text-align:left;"\| 1996 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 28.8 \|\| .429 \|\| .200 \|\| .625 \|\| 7.5 \|\| 2.0 \|\| 0.0 \|\| 1.3 \|\| 9.0 \|- \| style="text-align:left;"\| 1997 \| style="text-align:left;"\| Charlotte \| 3 \|\| 3 \|\| 38.7 \|\| .457 \|\| .000 \|\| .800 \|\| 8.7 \|\| 3.3 \|\| 1.0 \|\| 2.0 \|\| 18.0 \|- \| style="text-align:left;"\| 1998 \| style="text-align:left;"\| Charlotte \| 9 \|\| 9 \|\| 38.5 \|\| .483 \|\| .000 \|\| .606 \|\| 10.9 \|\| 3.4 \|\| 0.8 \|\| 1.6 \|\| 11.6 \|- \| style="text-align:left;"\| 1999 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 39.6 \|\| .446 \|\| .200 \|\| .833 \|\| 10.0 \|\| 4.6 \|\| 1.6 \|\| 0.8 \|\| 16.2 \|- \| style="text-align:left;"\| 2000 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 32.0 \|\| .357 \|\| .000 \|\| .696 \|\| 7.2 \|\| 2.8 \|\| 1.4 \|\| 0.8 \|\| 11.2 \|- \| style="text-align:left;"\| 2001 \| style="text-align:left;"\| Sacramento \| 8 \|\| 8 \|\| 28.1 \|\| .350 \|\| .333 \|\| .763 \|\| 8.4 \|\| 2.4 \|\| 1.0 \|\| 1.5 \|\| 10.8 \|- \| style="text-align:left;"\| 2002 \| style="text-align:left;"\| Sacramento \| 16 \|\| 16 \|\| 33.4 \|\| .464 \|\| .268 \|\| .755 \|\| 9.3 \|\| 1.7 \|\| 1.1 \|\| 1.3 \|\| 13.5 \|- \| style="text-align:left;"\| 2003 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 26.4 \|\| .560 \|\| .000 \|\| .673 \|\| 5.8 \|\| 2.3 \|\| 0.7 \|\| 0.9 \|\| 11.4 \|- \| style="text-align:left;"\| 2004 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 19.6 \|\| .437 \|\| .000 \|\| .739 \|\| 4.9 \|\| 1.8 \|\| 0.3 \|\| 0.4 \|\| 6.6 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 121 \|\| 113 \|\| 30.8 \|\| .480 \|\| .241 \|\| .731 \|\| 7.5 \|\| 2.4 \|\| 1.0 \|\| 1.4 \|\| 12.1 Major career achievements KK Partizan Yugoslav League Champion: (1987) 1988 EuroLeague Final Four: 3rd Place Yugoslav Cup Winner: (1989) Korać Cup Winner: (1989) Yugoslavia national team Earned gold medal with Yugoslavia's under-18 nationals at the 1985 FIBA Europe Under-16 Championship in Rousse, Bulgaria Earned gold medal with Yugoslavia's under-21 nationals at the 1986 FIBA Europe Under-18 Championship in Gmunden, Austria Earned gold medal with Yugoslavia's under-21 nationals at the 1987 FIBA Under-19 World Cup in Bormio, Italy, defeating the U.S. team twice in that tournament Earned silver medals in 1988 Summer Olympic Games (for SFR Yugoslavia) and 1996 Summer Olympic Games (for FR Yugoslavia) Earned gold medals with SFRY at the 1990 FIBA World Championship (Argentina) and with FRY at the 2002 FIBA World Championship (U.S.) Earned gold medals at EuroBasket in Zagreb 1989, and Rome 1991 (with SFRY), and in Athens 1995 (with FRY) NBA Named to the 1989–90 NBA All-Rookie First Team after averaging 8.5 ppg and 6.2 rpg for the Lakers Appeared in the 1991 NBA Finals against the Chicago Bulls and averaged 12.1 ppg, 7.5 rpg and 2.4 apg in 121 career NBA Playoff games Ranks 4th in Lakers franchise history with 830 blocked shots Ranked 2nd on the Kings in scoring (14.3 ppg), rebounds (10.0 rpg, 10th in the NBA), assists (4.3 apg) and blocked shots (1.02 bpg) in 1998–99 Named NBA All-Star, 2001 One of only five basketball players born and trained in Europe to play at least 1,000 NBA games (1,134; along with Dirk Nowitzki, Tony Parker, Pau Gasol, Boris Diaw) One of only four basketball players born and trained in Europe (Peja Stojaković, Dražen Petrović and Zydrunas Ilgauskas are the others) to have his number retired by an NBA team Administrative career Through the twilight of his playing career and afterwards, Divac focused on three fields: humanitarian work, sport management, and investment. KK Partizan president In late 2000, following the overthrow of Slobodan Milošević whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilović took over their former club KK Partizan. They did so on initiative by Ivica Dačić, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milošević, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from régime change, Dačić saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilović took the vice-president role. Freshly retired from playing, Danilović was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000–01 season before they decided in summer 2001 to bring back their mentor Duško Vujošević to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports was passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan was not and still is not really clear, potential investors decided to stay away, at least until the law came into effect. Divac and Danilović appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. LA Lakers scout In October 2005, right after ending his playing career with the Los Angeles Lakers, Divac got hired as the Lakers' European scout, reporting directly to the team's general manager Mitch Kupchak. He left the position in 2006. Real Madrid Baloncesto club management In June 2006, through his friendship with Predrag Mijatović, Divac linked up with Ramón Calderón as part of the lawyer's candidate bid for the presidency of Real Madrid. When Calderón closely won the club elections on July 2, 2006, Divac was announced as the head of operations at Real Madrid basketball club though the scope of his job description soon got reduced to consulting duties as president Calderón's adviser for basketball and club's international coordinator. However, Divac's role in the club's day-to-day operations turned out to be largely symbolic, and he even admitted as much in a March 2007 interview for Croatian weekly Globus: "I literally do nothing and I only serve as part of the royal club'''s image. I only accepted the job because of Mijatović, who is currently the football director at Real". By the end of 2007, following a financial settlement between the two parties, Divac moved on from the post for which he had been reportedly receiving an annual compensation of €300,000. Serbian Deputy Prime Minister's adviser In October 2008, Divac's political advisory engagement within the Serbian government as the sports, diaspora, and humanitarian advisor to the Deputy Prime Minister and Internal Affairs Minister Ivica Dačić, got announced. Olympic Committee of Serbia president Divac was proposed in 2000 as Yugoslavia's candidate for the Sport Commission of the International Olympic Committee in spring 2000. This candidature was withdrawn under pressure from Milošević regime. In February 2009, Divac ran for presidency of the Olympic Committee of Serbia against incumbent president Ivan Ćurković. He won the race after Ćurković withdrew just before the scheduled voting. In November 2012, he was re-elected as the sole candidate; the end of his second mandate coincides with the 2016 Summer Olympics in Rio de Janeiro. In December 2014, Kosovo was accepted as a full member of the International Olympic Committee. Divac and the Serbian Olympic Committee have been criticised, chiefly by the Democratic Party of Serbia, for failing to take any effort to prevent that. Divac stated that he is not happy with the decision of the IOC, but could not have prevented it as it had already been made, and said he would accept it "in the interest of the athletes". On May 9, 2017, he was succeeded by Serbian former basketball coach Božidar Maljković on position of the president of Olympic Committee of Serbia. Sacramento Kings front office Initial advisory role In early March 2015, Divac was hired by the Sacramento Kings as their vice president of basketball and franchise operations. Brought into the organization by the principal owner Vivek Ranadivé towards the end of a turbulent season, Divac's arrival came in the wake of head coach Mike Malone's firing and the eventual hiring of George Karl. Working alongside the team's general manager Pete D'Alessandro, Divac's initial duties with the Kings were reported to be advising the front office and coaches as well as assisting with branding and fan outreach. However, such broadly defined job responsibilities immediately led to press speculation about Divac's role within the organization that in addition to general manager D'Alessandro also featured assistant GM Mike Bratz, special assistant to the GM Mitch Richmond, director of player personnel and analytics Dean Oliver, adviser to the chairman Chris Mullin, as well as a head coach, Karl, who has always wanted to be involved in personnel issues. Within a month of Divac's hiring, ESPN's Marc Stein reported that "despite the Kings not yet announcing their new power structure, Divac is indeed already regarded as the team's top basketball official by owner Ranadivé". On June 10, 2015, two weeks before the NBA draft, general manager D'Alessandro left the Kings by accepting a front-office position with the Denver Nuggets amid reports he did so due to being stripped of his decision-making power after Ranadivé hired Divac. Only days before the draft, animosity between head coach Karl and the team's star center DeMarcus Cousins reignited, as Karl reportedly lobbied Divac, as well as multiple players on the Kings' roster, in order to make the case to owner Ranadive that Cousins needs to be traded. As a result, against the backdrop of Cousins calling Karl a "snake" on Twitter, Divac reportedly discussed multiple Cousins trade scenarios with various teams, but ultimately no deal got made. At the 2015 NBA draft, with the 6th pick, the Kings selected 21-year-old center Willie Cauley-Stein out of Kentucky. Less than a week following the draft, with the dissolution of the Karl—Cousins relationship on public display, the Kings' ultimately unsuccessful attempt at landing University of Kentucky head coach John Calipari to replace Karl was reported. In early July 2015, in an effort of clearing salary cap space in order to immediately go after free agents, the Kings agreed to a trade with the Philadelphia 76ers, sending Nik Stauskas, Carl Landry, and Jason Thompson, along with the Kings' future first round draft pick to the Sixers as well as the rights to swap first round picks in 2016 and 2017 while receiving the rights to Sixers overseas players Artūras Gudaitis and Luka Mitrović in return. Two days later, they announced the acquisitions of two free agents: 29-year-old Marco Belinelli on a three-year US$19 million contract and 29-year-old point guard Rajon Rondo for one year for US$10 million. This was followed by signing twenty-six-year-old center Kosta Koufos for four years and US$33 million with his role envisioned as the backup for Cousins. With the free agent signings done, Divac turned his attention to attempting to mend the relations between the team's head coach Karl and its star center Cousins ahead of the 2015-16 season, admitting publicly on July 9, 2015 on CBS Sports Radio's The Jim Rome Show that the relationship between the two "isn't pretty right now". A few days later, on July 13, 2015, during a 2015 NBA Summer League game in Las Vegas, the two shared an awkward on-camera handshake as Karl approached and Cousins reluctantly shook the coach's hand before turning away. Later that week, Divac summoned Cousins and Karl to a private counseling session. General manager Divac was promoted to the Kings' vice president of basketball operations and general manager on August 31, 2015. Amid a tense and incident-filled season that saw the team briefly reach the final playoff spot in the Western Conference before unravelling with extended losing streaks in late January and early February 2016, the organization reportedly made a decision to fire their head coach George Karl during the upcoming All-Star break, a move pushed for by Divac. However, in a quick about-face, Karl got retained after meeting with Divac and reportedly pledging to make changes to address concerns within the organization about his defensive schemes and practice policies. It was later reported that the move to fire Karl on this occasion got scuttled by the Kings minority owners over financial concerns. A month and a half later, in late March 2016, Divac signed a multi-year contract extension with the organization. The team finished the season 33–49, eight games out of the playoffs, good for 10th spot in the Western Conference. Their final season in Sleep Train Arena, the team's home since 1988, it was also their first 30 plus win campaign after seven consecutive seasons of fewer than 30 wins. Early into the team's offseason, in mid April 2016, the Kings organization fired head coach Karl, a decision made by Divac who had reportedly been pushing for it for months. Within three weeks, during which Divac interviewed head coaching candidates Sam Mitchell, Vinny Del Negro, Mike Woodson, David Blatt, Mark Jackson, Jeff Hornacek, Nate McMillan, Patrick Ewing, Elston Turner, and Corliss Williamson, the Kings hired Dave Joerger as their new head coach, signing him to a four-year deal worth US$16 million. At the 2016 NBA draft, with the 8th pick, the Kings selected Marquese Chriss out of the University of Washington, but traded him to the Phoenix Suns for rights to Bogdan Bogdanović as well as the Suns' 2016 draft 13th and 28th picks, Georgios Papagiannis and Skal Labissière, respectively. At the 2017 NBA draft, with the 5th pick, the Kings selected point guard De'Aaron Fox out of Kentucky. At the 2018 NBA draft, the Kings selected Marvin Bagley III with the second overall pick, passing on Luka Dončić who would become a MVP candidate within two years into his NBA career. In 2018–19 season the Sacramento Kings finished 9th in the Western conference. However, the season was evaluated as successful for the Kings. The 2019–20 NBA season was suspended in March as a result of the COVID-19 pandemic, and the Sacramento Kings were invited to the 22-team 2020 NBA Bubble. However, the Kings did not manage to qualify for the playoffs, their 14th consecutive season without a playoff appearance, and finished the season with a 31–41 record. Shortly thereafter, on August 14, 2020, Divac stepped down as general manager. Investments Divac has been involved in many non-basketball endeavors while still actively playing in the NBA, and more so after he retired. He is an active restaurant investor in the Sacramento, California area. However, his attempts to make major investments in Serbia failed, for a variety of reasons. The most notable affair was a highly publicized business venture—takeover bid of profitable beverage producer Knjaz Miloš. Divac's company "Apurna", in a joint venture with French dairy giant Danone, ostensibly proposed the best bid, but the takeover was aborted by the Serbia's Securities Commission, because Danone/Apurna allegedly offered extra money to small shareholders. In the repeated bid, Divac and Danone eventually withdrew and the sale went to FPP Balkan Ltd., a privatization fund from the Cayman Islands. The entire messy affair caused great friction within the Serbian government, wide speculation about corruption, resignation of the Securities Commission chief, and even a police investigation. Another similar, though less spectacular, episode happened with 2005 Divac's attempt to take over the Večernje novosti, a Serbian high-circulation daily. He made an agreement with small shareholders to take over the company by means of registering a new company with joint capital, which would increase the share capital. However, the Serbian Government intervened and halted what should have been a mere technical move. While the attempted takeover was a "backdoor" one indeed, it was legal and similar cases had already occurred. The government ostensibly feared lack of control over the influential daily. Even though the Supreme Court of Serbia eventually ruled in Divac's favor, he withdrew from the contest, citing "friendly advice" by unnamed persons. Embittered, he decided to stop his attempts to invest in Serbia: "All of this is ugly and I'm very upset... I realized that there's no place for me in Serbia and my friends can meet me in Madrid from now on... In Serbia, some different rules are in effect, and I can't conceive them". However, that turned out not to be true, as in October 2007 Divac got legally registered as the 100% owner of Voda Voda, a bottled water brand previously owned by businessman Vojin Đorđević. That transaction was also followed by a stir of controversy, as Đorđević publicly accused Divac of deceit, asserting that he broke a gentlemen's agreement they had, and questioning the validity of the contract that Divac presented to the Serbian Business Registers Agency. The circumstances surrounding the deal (as of November 2007) are still unclear: Divac claims that he indeed loaned some money to Đorđević's Si&Si company, which was in financial trouble, and after Đorđević failed to fulfill his part of the deal, just used the contract, already properly signed by Đorđević, to claim ownership of the company. Humanitarian work Divac is a humanitarian worker, focusing on aid to children worldwide and refugees in his home country. Along with six Serbian basketball teammates, Divac established the charity called Group Seven, later renamed to "Divac's Children Foundation", and works closely with International Orthodox Christian Charities (IOCC), helping them to raise around US$500,000 for humanitarian assistance in Serbia since 1997. Divac's own foundation, presided by his wife Snežana, provided over $2,500,000 in humanitarian assistance through 1998–2007. In 2000, the NBA named Divac as the recipient of the J. Walter Kennedy Citizenship Award. The honor is presented annually to a player, coach or athletic trainer who shows outstanding service and dedication to the community. In late 2007, Divac founded a humanitarian organization, "You Can Too" (Serbian: Можеш и ти/Možeš i ti), with the goal of restoring abandoned homes in villages throughout Serbia and Africa, thereby providing shelter for homeless refugees. Around 7,800 of those people still live in collective centers under poor conditions, so the organization has employed itself to buy abandoned countryside houses, in an attempt to finally solve their accommodation problem. From September 21 to 23, 2007, Divac organized an official farewell from his active basketball career in his hometown Prijepolje and Belgrade, simultaneously promoting the "You Can Too" campaign. The spectacle culminated in a gathering of Divac and his worldwide friends in front of 10,000 people outside the National Assembly building. In popular culture In the early 1990s, the song "Vlade Divac" by Belgrade band Deca Loših Muzičara, devoted to his move to the Lakers, was a big hit; the band finally got to personally meet Divac and perform the song with him on his farewell party in 2007. During his time with the Lakers, Divac's popularity and marketing potential, in addition to his entertaining and good-natured personality, were picked up on by the American TV industry. As a result, he appeared quite a few times on Los Angeles-based late night programmes such as The Arsenio Hall Show and The Tonight Show with Jay Leno. In 1990, he was featured in a commercial with Laker teammates A. C. Green and Mychal Thompson for the Schick brand razor company. He also appeared in American sitcoms Married... with Children and Coach, as well as in the short lived Good Sports sitcom. On the big screen Divac took part in basketball-based movies Eddie, Space Jam and Juwanna Mann. Later in his career, he appeared on Larry King Live in 1999 and The Late Late Show in 2002. In Serbia, throughout his playing career, Divac regularly appeared in commercials pitching products ranging from Atlas Beer to Société Générale mortgage credit plans. He appeared in a national TV commercial in the United States alongside former NBA star Darryl Dawkins for Taco Bell. Divac appeared as a special guest on Eurovision 2008. He threw a ball into the audience, which marked the beginning of televoting. Divac features in the ESPN 30 for 30 documentary Once Brothers, where he discusses the exploits of the Yugoslavia national basketball team in the late 1980s and early 1990s and how the Yugoslav Wars tore them apart, especially in context of his broken friendship with Croatian player Dražen Petrović. Divac appears in Boris Malagurski's documentary film The Weight of Chains'', in which he talks about the 1999 NATO bombing of Yugoslavia. Personal life Divac and his wife, Snežana, have two sons, Luka and Matija, and an adopted daughter, Petra, whose biological parents were killed by Kosovo Liberation Army snipers. On January 7, 2014, Divac's father Milenko died after injuries sustained in a car accident. Filmography Film Selected television See also List of National Basketball Association career blocks leaders List of National Basketball Association players with 10 or more blocks in a game List of Serbian NBA players Notes References Further reading External links Euroleague.net 50 greatest contributors 1968 births Living people Basketball players at the 1988 Summer Olympics Basketball players at the 1996 Summer Olympics Centers (basketball) Charlotte Hornets players FIBA EuroBasket-winning players FIBA Hall of Fame inductees FIBA World Championship-winning players KK Crvena zvezda players KK Partizan players KK Sloga players Los Angeles Lakers draft picks Los Angeles Lakers players Los Angeles Lakers scouts Medalists at the 1988 Summer Olympics Medalists at the 1996 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association general managers National Basketball Association players from Serbia National Basketball Association players with retired numbers National Basketball Association scouts from Europe Olympic basketball players of Yugoslavia Olympic medalists in basketball Olympic silver medalists for Yugoslavia Olympic silver medalists for Serbia and Montenegro People from Prijepolje Recipients of the Olympic Order Recipients of the Order of St. Sava Sacramento Kings players Sacramento Kings executives Serbian basketball scouts Serbian businesspeople Serbian basketball executives and administrators Serbian expatriate basketball people in the United States Serbian men's basketball players Universiade gold medalists for Yugoslavia Universiade medalists in basketball Yugoslav expatriate sportspeople in the United States Yugoslav men's basketball players 1990 FIBA World Championship players 2002 FIBA World Championship players 1986 FIBA World Championship players Medalists at the 1987 Summer Universiade	true	[ "Arsenije Pešić (; born June 10, 1955) is a Serbian former professional basketball player.\n\nPlaying career \nPešić played most of this career for Partizan. He was a member of the trophy generation led by Dragan Kićanović and Dražen Dalipagić in the late 1970s and early 1980s. He won two Korać Cups and two Yugoslav championships with the Partizan. \n\nPešić played the first half of the 1987–88 season for Segafredo Gorizia of Italian Serie A2. He averaged 17.4 points, 8.4 rebounds and 1.0 assists per game, oven nine games. Also, he played for Sloboda Tuzla and for Vojvodina where he finished his playing career after 1988–89 season.\n\nCareer achievements and awards \n FIBA Korać Cup winner: 2 (with Partizan: 1977–78, 1978–79)\n Yugoslav League champion: 2 (with Partizan: 1978–79, 1980–81)\n Yugoslav Cup winner: 2 (with Partizan: 1978–79; with IMT: 1986–87)\n\nReferences\n\n1955 births\nLiving people\nKK IMT Beograd players\nKK Partizan players\nKK Vojvodina players\nKK Sloboda Tuzla players\nPeople from Berane\nPower forwards (basketball)\nSerbian men's basketball players\nSerbian expatriate basketball people in Bosnia and Herzegovina\nSerbian expatriate basketball people in Italy\nSerbs of Montenegro\nYugoslav men's basketball players", "Petar Božić (; born December 6, 1978) is a Serbian professional basketball coach and former player. , he is the head coach for the Austin Spurs in the NBA G League. \n\nDuring his playing career, he used to play at the point guard–shooting guard position. He was well known for his defense and three-point shooting. He is a Partizan player with the second-most played games (471) in the history of the club, a record that was broken in January 2020 when Novica Veličković surpassed him. He is also a part of the Partizan Belgrade supporters All-decade Team.\n\nPlaying career\nBefore coming to Partizan, Božić was a little-known player. He started his professional career in KK Beobanka, playing there for three years. He then played for the club Radnički Jugopetrol. He stayed there for just one season (2000–01). The last club he played for before Partizan was Hemofarm Vršac. After three seasons in Hemofarm, the team recommended him to Partizan.\n\nBožić was signed by the Partizan Belgrade in 2004 at the beginning of the season. In the same season he won the Serbian Super League with the club. Years spent captaining the club, he became club legend with the most appearances (471 games played) for the club ever in history; record was broken in January 2020 after Novica Veličković surpassed him. He has won over 17 trophies with Partizan and is dubbed by the Partizan fans as a \"professional trophy lifter\".\n\nCoaching career\nFollowing his retirement from the professional basketball, he was named an assistant coach of Duško Vujošević in Partizan back in 2013. After Partizan decided not to extend a contract with Vujošević, Božić was named the new head coach of the team in September 2015. On January 5, 2016, he parted ways with the team after 6–12 record in the ABA League.\n\nIn October 2017, Božić was hired by the Austin Spurs to be an assistant coach. In 2021, he was promoted to the head coaching position.\n\nReferences\n\nExternal links\n\n Petar Božić at eurobasket.com\n\n1978 births\nLiving people\nABA League players\nAustin Spurs coaches\nBasketball League of Serbia players\nKK Beobanka players\nKK Hemofarm players\nKK Metalac Valjevo players\nKK Partizan coaches\nKK Partizan players\nPoint guards\nBKK Radnički players\nSerbian expatriate basketball people in the United States\nSerbian men's basketball coaches\nSerbian men's basketball players\nShooting guards\nBasketball players from Belgrade" ]
[ "Vlade Divac", "KK Partizan", "what is the connection between divac and kk partizan", "Divac and former teammate Predrag Danilovic took over their former club KK Partizan.", "when did he start playing for kk partizan", "In late 2000," ]	C_ae1a7ce0b4144088b0f2ad1f39380eb4_0	how long did he play for ir	3	how long did Vlade Divac play for KK Partizan	Vlade Divac	In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilovic took over their former club KK Partizan. They did so on initiative by Ivica Dacic, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milosevic, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from regime change, Dacic saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilovic took the vice-president role. Freshly retired from playing, Danilovic was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000-01 season before they decided in summer 2001 to bring back their mentor Dusko Vujosevic to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports gets passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan wasn't and still isn't really clear, potential investors decided to stay away, at least until the law appears. Divac and Danilovic appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end-goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. CANNOTANSWER	after a few years the duo ran out of patience and pulled out of the venture in late 2004	Vlade Divac (, ; born February 3, 1968) is a Serbian professional basketball executive and former player who was most recently the vice president of basketball operations and general manager of the Sacramento Kings of the National Basketball Association (NBA). Divac spent most of his playing career in the NBA. At , he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition. He was elected to the Naismith Memorial Basketball Hall of Fame in 2019. Divac is a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a four-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame. Professional career Sloga (1983–1986) Divac began playing basketball in his home town Prijepolje for the team KK Elan. He began his professional career in Yugoslavia playing for Sloga from Kraljevo, and was immediately noted for scoring 27 points against Crvena zvezda. Partizan (1986–1989) In the summer of 1986, Divac was the top star of the basketball transfer season, and he ended up signing with KK Partizan for DM14,000. In the 1986-87 Yugoslav First League season, with players like Divac, Aleksandar Đorđević, Žarko Paspalj, Željko Obradović, and with coach Duško Vujošević at the helm, Partizan had a "dream team", which won the Yugoslavian League title. In the subsequent 1987-88 FIBA European Champions Cup season (now called EuroLeague), the club failed to reach the top of the EuroLeague, after having lost to Maccabi Tel Aviv in the semifinal in Ghent. Jugoplastika, with Dino Rađa and Toni Kukoč, was a stronger team in the subsequent three years, reigning both in Yugoslavia and in Europe. Divac had an unusual style compared to most other centers of his generation: despite his height, he possessed good mobility, had good control of the ball, and was a decent shooter. On occasion, he would also act as a play maker. His trademark moves included a mid-range shot at the top of the key and flip shots around the rim, while facing the complete opposite direction. His quirky moves complemented how he liked playing gags on the court: in the 1989 EuroBasket, he lifted teammate Zoran Radović for a slam dunk. In just four professional seasons in Europe, he became the most sought-after big man on the continent, after Arvydas Sabonis. Los Angeles Lakers (1989–1996) Drafted into the NBA in 1989 by the Los Angeles Lakers, Divac became one of the first European players to have an impact in the league. Under the mentorship of Kareem Abdul-Jabbar and Magic Johnson, he improved his play and adapted to the American style of basketball. Though he spoke no English, he quickly became popular among his teammates and the public for his charm and joviality. In the 1989–90 season, he was selected into the NBA All-Rookie Team. Divac earned a reputation for flopping, or deceiving the officials into calling a foul on the other team by purposely falling to the floor upon contact with an opposing player. Veteran NBA forward P.J. Brown claimed that Divac might have been the best of all time at flopping. Divac freely admitted doing so, adding that he usually did it when he felt like the officials had missed some calls and owed him. However, when the NBA instituted anti-flopping penalties in 2012, Divac expressed his support for such rules, stating that he felt players after him were "overdo[ing] it" with respect to flopping. Ian Thomsen, a Sports Illustrated columnist, grouped Divac with fellow international players Anderson Varejão and Manu Ginóbili as the players who "made [flopping] famous", exaggerating contact on the court in a manner analogous to diving in FIBA games. Charlotte Hornets (1996–1998) On July 1, 1996, Divac was traded to the Charlotte Hornets for the draft rights to Kobe Bryant and played two seasons there until signing with the Sacramento Kings in July 1998. Crvena zvezda (1999) During the 1998–99 NBA lockout, in January 1999, Divac played 2 games for Partizan's eternal rival KK Crvena zvezda, in the 1998–99 EuroLeague season. His debut for the crveno-beli took place mid-season, on Orthodox Christmas, versus a heavily favoured Žalgiris side led by Tyus Edney, Mindaugas Žukauskas, Saulius Štombergas, and Jiří Zídek Jr. Supported by a raucous home crowd and energized by Divac's arrival, as well as his 16 points and 8 rebounds, Crvena zvezda pulled off a 77–69 memorable upset win. Divac's brief stint with Crvena zvezda, for which he reportedly got paid US$250,000 per game, immediately became a sore point with KK Partizan fans, who unfurled a banner calling him a traitor, at their club's next game. The issue of playing for the hated cross-town rival reignited several years later, when Divac returned to KK Partizan as club president. At the time, he stated his decision to play for Crvena zvezda was "a mistake". Sacramento Kings (1999–2004) On January 22, 1999, Divac signed a six-year, $62.5 million contract as a free agent with the Sacramento Kings, where he played for six seasons alongside fellow countryman Peja Stojaković. Teamed with Stojaković, Hedo Türkoğlu, Chris Webber and Mike Bibby, Divac revitalized the Sacramento Kings franchise. The Kings rose in the NBA ranks, becoming a perennial playoff contender and eventually a championship contender, leading the league in wins in 2001-02. The Kings, however, could not get past the Los Angeles Lakers, who beat them controversially in a 7-game series in 2002, which has later been dubbed by some as the 'greatest tragedy in sports history'. Return to the Lakers (2004–2005) After the 2003–04 NBA season, Divac became a free agent. On July 20, 2004, he signed a two-year contract to return to the Lakers, part of Mitch Kupchak's plan to overhaul Laker basketball. The Lakers, following a defeat in the NBA Finals, had traded away or released most of their players, including Shaquille O'Neal, Gary Payton, Karl Malone, Derek Fisher, and more; Divac was supposed to help fill that void. However, Divac suffered back problems and could not play most of the season, and even when he returned, could only play about nine minutes per game, averaging 2.3 points per game and 2.1 rebounds per game in 15 games, he played 8 games early in the season and 7 more in the final month of the season. On July 14, 2005, 37-year-old Divac announced his retirement, ending his 16-year NBA and 22-year professional basketball career. Divac accepted a position with the Lakers as a European liaison to help with scouting overseas. The Kings retired Divac's No. 21 jersey in a ceremony on March 31, 2009. Over his 16 years in the NBA, Divac earned over $93 million in salary. In September 2009, he played for the "NBA Generations" team in the 2009 NBA Asia Challenge, a series of exhibitions against Korean Basketball League and Philippine Basketball Association players. National team career In summer 1986, at 18, right after signing for KK Partizan, Divac debuted for the senior Yugoslavia national basketball team at the 1986 FIBA World Championship in Madrid, on invitation by the head coach Krešimir Ćosić. However, the excellent rookie's performance was spoiled by the event in the semi-finals against the Soviet Union. Forty-five seconds before the end, Yugoslavia had a comfortable lead of 9 points, but the Soviets scored two three-pointers within a few seconds and cut the difference to 3 points. Yugoslavia tried to hold the ball for the remaining time, opting to continue the play with throw-ins instead of free throws following fouls, but with only 14 seconds left, Divac committed a double dribble, the Soviets were awarded the ball, and tied the score with another three-pointer. In the overtime, the Soviets won by 1 point and Yugoslavs had to be content with the bronze. The next year, Divac participated in the team that took the gold at the 1987 FIBA Junior World Championship (which was later split into separate under-19 and under-21 events) in Bormio, Italy. That event launched the young generation of Yugoslavian basketball players, also featuring stars like Rađa and Kukoč, regarded as likely the best in history. Before the breakup of Yugoslavia, they would also take the titles at EuroBasket 1989 and the 1990 FIBA World Championship in Argentina, where they were led by Dražen Petrović, as well as the EuroBasket 1991 title, with Aleksandar Đorđević at point guard. When Yugoslavia won the gold in the 1990 FIBA World Championship, fans rushed onto the court. One of them was holding a Croatian flag, one of the six republics that made up Yugoslavia. Divac claims that he told the man that he should not be waving that flag, since this was a win for Yugoslavia. Divac claims the man made a derogatory remark about the Yugoslav flag, at which point Divac took his flag from him. This happened during a very tense time where nationalistic pride was threatening to tear Yugoslavia apart and ignite a war. The taking of the flag made Divac a hero to Serbs, and a villain to Croatians. Divac has stated that he did not mean it as an act against Croatia and he would have taken away a Serbian flag if a Serb fan had done the same. This action, along with the Yugoslav Wars, alienated Divac from many of his former Croatian friends, particularly Dražen Petrović, whom he considered his best friend. When FR Yugoslavia won the gold medal at the EuroBasket 1995, and Croatia won bronze, Croatia, still at war with Serbs from Croatia, walked off the podium during the medal ceremony. The teams had not faced each other in the tournament. NBA career statistics Regular season \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 5 \|\| 19.6 \|\| .499 \|\| .000 \|\| .708 \|\| 6.2 \|\| 0.9 \|\| 1.0 \|\| 1.4 \|\| 8.5 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 81 \|\| 28.2 \|\| .565 \|\| .357 \|\| .703 \|\| 8.1 \|\| 1.1 \|\| 1.3 \|\| 1.5 \|\| 11.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 36 \|\| 18 \|\| 27.2 \|\| .495 \|\| .263 \|\| .768 \|\| 6.9 \|\| 1.7 \|\| 1.5 \|\| 1.0 \|\| 11.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 69 \|\| 30.8 \|\| .485 \|\| .280 \|\| .689 \|\| 8.9 \|\| 2.8 \|\| 1.6 \|\| 1.7 \|\| 12.8 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 73 \|\| 34.0 \|\| .506 \|\| .191 \|\| .686 \|\| 10.8 \|\| 3.9 \|\| 1.2 \|\| 1.4 \|\| 14.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 80 \|\| 80 \|\| 35.1 \|\| .507 \|\| .185 \|\| .777 \|\| 10.4\|\| 4.1 \|\| 1.4 \|\| 2.2 \|\| 16.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 79 \|\| 31.3 \|\| .513 \|\| .167 \|\| .641 \|\| 8.6 \|\| 3.3 \|\| 1.0 \|\| 1.7 \|\| 12.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 81 \|\| 80 \|\| 35.1 \|\| .494 \|\| .234 \|\| .683 \|\| 9.0 \|\| 3.7 \|\| 1.3 \|\| 2.2 \|\| 12.6 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 64 \|\| 41 \|\| 28.2 \|\| .498 \|\| .214 \|\| .691 \|\| 8.1 \|\| 2.7 \|\| 1.3 \|\| 1.5 \|\| 10.4 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 50 \|\| 50 \|\| 35.2 \|\| .470 \|\| .256 \|\| .702 \|\| 10.0 \|\| 4.3 \|\| 0.9 \|\| 1.0 \|\| 14.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 82 \|\| 81 \|\| 29.0 \|\| .503 \|\| .269 \|\| .691 \|\| 8.0 \|\| 3.0 \|\| 1.3 \|\| 1.3 \|\| 12.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 29.9 \|\| .482 \|\| .286 \|\| .691 \|\| 8.3 \|\| 2.9 \|\| 1.1 \|\| 1.1 \|\| 12.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 30.3 \|\| .472 \|\| .231 \|\| .615 \|\| 8.4 \|\| 3.7 \|\| 1.0 \|\| 1.2 \|\| 11.1 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 29.8 \|\| .466 \|\| .240 \|\| .713 \|\| 7.2 \|\| 3.4 \|\| 1.0 \|\| 1.3 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 28.6 \|\| .470 \|\| .154 \|\| .654 \|\| 5.7 \|\| 5.3 \|\| 0.7 \|\| 0.1 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 15 \|\| 0 \|\| 8.7 \|\| .419 \|\| .000 \|\| .667 \|\| 2.1 \|\| 1.3 \|\| 0.3 \|\| 0.1 \|\| 2.3 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 1134 \|\| 979 \|\| 29.8 \|\| .495 \|\| .235 \|\| .692 \|\| 8.2 \|\| 3.1 \|\| 1.1 \|\| 1.4 \|\| 11.8 \|- class="sortbottom" \| style="text-align:center;" colspan="2"\| All-Star \| 1 \|\| 0 \|\| 9.0 \|\| .667 \|\| .000 \|\| – \|\| 6.0 \|\| 1.0 \|\| 2.0 \|\| 0.0 \|\| 8.0 Playoffs \|- \| style="text-align:left;"\| 1990 \| style="text-align:left;"\| LA Lakers \| 9 \|\| 1 \|\| 19.4 \|\| .727 \|\| .500 \|\| .895 \|\| 5.3 \|\| 1.1 \|\| 0.9 \|\| 1.7 \|\| 9.1 \|- \| style="text-align:left;"\| 1991 \| style="text-align:left;"\| LA Lakers \| 19 \|\| 19 \|\| 32.1 \|\| .564 \|\| .167 \|\| .803 \|\| 6.7 \|\| 1.1 \|\| 1.4 \|\| 2.2 \|\| 13.3 \|- \| style="text-align:left;"\| 1992 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 35.8 \|\| .349 \|\| .000 \|\| .900 \|\| 5.5 \|\| 3.8 \|\| 1.3 \|\| 0.8 \|\| 9.8 \|- \| style="text-align:left;"\| 1993 \| style="text-align:left;"\| LA Lakers \| 5 \|\| 5 \|\| 33.4 \|\| .500 \|\| .444 \|\| .545 \|\| 9.4 \|\| 5.6 \|\| 1.2 \|\| 2.4 \|\| 18.0 \|- \| style="text-align:left;"\| 1995 \| style="text-align:left;"\| LA Lakers \| 10 \|\| 10 \|\| 38.8 \|\| .467 \|\| .222 \|\| .645 \|\| 8.5 \|\| 3.1 \|\| 0.8 \|\| 1.3 \|\| 15.6 \|- \| style="text-align:left;"\| 1996 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 28.8 \|\| .429 \|\| .200 \|\| .625 \|\| 7.5 \|\| 2.0 \|\| 0.0 \|\| 1.3 \|\| 9.0 \|- \| style="text-align:left;"\| 1997 \| style="text-align:left;"\| Charlotte \| 3 \|\| 3 \|\| 38.7 \|\| .457 \|\| .000 \|\| .800 \|\| 8.7 \|\| 3.3 \|\| 1.0 \|\| 2.0 \|\| 18.0 \|- \| style="text-align:left;"\| 1998 \| style="text-align:left;"\| Charlotte \| 9 \|\| 9 \|\| 38.5 \|\| .483 \|\| .000 \|\| .606 \|\| 10.9 \|\| 3.4 \|\| 0.8 \|\| 1.6 \|\| 11.6 \|- \| style="text-align:left;"\| 1999 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 39.6 \|\| .446 \|\| .200 \|\| .833 \|\| 10.0 \|\| 4.6 \|\| 1.6 \|\| 0.8 \|\| 16.2 \|- \| style="text-align:left;"\| 2000 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 32.0 \|\| .357 \|\| .000 \|\| .696 \|\| 7.2 \|\| 2.8 \|\| 1.4 \|\| 0.8 \|\| 11.2 \|- \| style="text-align:left;"\| 2001 \| style="text-align:left;"\| Sacramento \| 8 \|\| 8 \|\| 28.1 \|\| .350 \|\| .333 \|\| .763 \|\| 8.4 \|\| 2.4 \|\| 1.0 \|\| 1.5 \|\| 10.8 \|- \| style="text-align:left;"\| 2002 \| style="text-align:left;"\| Sacramento \| 16 \|\| 16 \|\| 33.4 \|\| .464 \|\| .268 \|\| .755 \|\| 9.3 \|\| 1.7 \|\| 1.1 \|\| 1.3 \|\| 13.5 \|- \| style="text-align:left;"\| 2003 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 26.4 \|\| .560 \|\| .000 \|\| .673 \|\| 5.8 \|\| 2.3 \|\| 0.7 \|\| 0.9 \|\| 11.4 \|- \| style="text-align:left;"\| 2004 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 19.6 \|\| .437 \|\| .000 \|\| .739 \|\| 4.9 \|\| 1.8 \|\| 0.3 \|\| 0.4 \|\| 6.6 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 121 \|\| 113 \|\| 30.8 \|\| .480 \|\| .241 \|\| .731 \|\| 7.5 \|\| 2.4 \|\| 1.0 \|\| 1.4 \|\| 12.1 Major career achievements KK Partizan Yugoslav League Champion: (1987) 1988 EuroLeague Final Four: 3rd Place Yugoslav Cup Winner: (1989) Korać Cup Winner: (1989) Yugoslavia national team Earned gold medal with Yugoslavia's under-18 nationals at the 1985 FIBA Europe Under-16 Championship in Rousse, Bulgaria Earned gold medal with Yugoslavia's under-21 nationals at the 1986 FIBA Europe Under-18 Championship in Gmunden, Austria Earned gold medal with Yugoslavia's under-21 nationals at the 1987 FIBA Under-19 World Cup in Bormio, Italy, defeating the U.S. team twice in that tournament Earned silver medals in 1988 Summer Olympic Games (for SFR Yugoslavia) and 1996 Summer Olympic Games (for FR Yugoslavia) Earned gold medals with SFRY at the 1990 FIBA World Championship (Argentina) and with FRY at the 2002 FIBA World Championship (U.S.) Earned gold medals at EuroBasket in Zagreb 1989, and Rome 1991 (with SFRY), and in Athens 1995 (with FRY) NBA Named to the 1989–90 NBA All-Rookie First Team after averaging 8.5 ppg and 6.2 rpg for the Lakers Appeared in the 1991 NBA Finals against the Chicago Bulls and averaged 12.1 ppg, 7.5 rpg and 2.4 apg in 121 career NBA Playoff games Ranks 4th in Lakers franchise history with 830 blocked shots Ranked 2nd on the Kings in scoring (14.3 ppg), rebounds (10.0 rpg, 10th in the NBA), assists (4.3 apg) and blocked shots (1.02 bpg) in 1998–99 Named NBA All-Star, 2001 One of only five basketball players born and trained in Europe to play at least 1,000 NBA games (1,134; along with Dirk Nowitzki, Tony Parker, Pau Gasol, Boris Diaw) One of only four basketball players born and trained in Europe (Peja Stojaković, Dražen Petrović and Zydrunas Ilgauskas are the others) to have his number retired by an NBA team Administrative career Through the twilight of his playing career and afterwards, Divac focused on three fields: humanitarian work, sport management, and investment. KK Partizan president In late 2000, following the overthrow of Slobodan Milošević whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilović took over their former club KK Partizan. They did so on initiative by Ivica Dačić, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milošević, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from régime change, Dačić saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilović took the vice-president role. Freshly retired from playing, Danilović was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000–01 season before they decided in summer 2001 to bring back their mentor Duško Vujošević to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports was passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan was not and still is not really clear, potential investors decided to stay away, at least until the law came into effect. Divac and Danilović appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. LA Lakers scout In October 2005, right after ending his playing career with the Los Angeles Lakers, Divac got hired as the Lakers' European scout, reporting directly to the team's general manager Mitch Kupchak. He left the position in 2006. Real Madrid Baloncesto club management In June 2006, through his friendship with Predrag Mijatović, Divac linked up with Ramón Calderón as part of the lawyer's candidate bid for the presidency of Real Madrid. When Calderón closely won the club elections on July 2, 2006, Divac was announced as the head of operations at Real Madrid basketball club though the scope of his job description soon got reduced to consulting duties as president Calderón's adviser for basketball and club's international coordinator. However, Divac's role in the club's day-to-day operations turned out to be largely symbolic, and he even admitted as much in a March 2007 interview for Croatian weekly Globus: "I literally do nothing and I only serve as part of the royal club'''s image. I only accepted the job because of Mijatović, who is currently the football director at Real". By the end of 2007, following a financial settlement between the two parties, Divac moved on from the post for which he had been reportedly receiving an annual compensation of €300,000. Serbian Deputy Prime Minister's adviser In October 2008, Divac's political advisory engagement within the Serbian government as the sports, diaspora, and humanitarian advisor to the Deputy Prime Minister and Internal Affairs Minister Ivica Dačić, got announced. Olympic Committee of Serbia president Divac was proposed in 2000 as Yugoslavia's candidate for the Sport Commission of the International Olympic Committee in spring 2000. This candidature was withdrawn under pressure from Milošević regime. In February 2009, Divac ran for presidency of the Olympic Committee of Serbia against incumbent president Ivan Ćurković. He won the race after Ćurković withdrew just before the scheduled voting. In November 2012, he was re-elected as the sole candidate; the end of his second mandate coincides with the 2016 Summer Olympics in Rio de Janeiro. In December 2014, Kosovo was accepted as a full member of the International Olympic Committee. Divac and the Serbian Olympic Committee have been criticised, chiefly by the Democratic Party of Serbia, for failing to take any effort to prevent that. Divac stated that he is not happy with the decision of the IOC, but could not have prevented it as it had already been made, and said he would accept it "in the interest of the athletes". On May 9, 2017, he was succeeded by Serbian former basketball coach Božidar Maljković on position of the president of Olympic Committee of Serbia. Sacramento Kings front office Initial advisory role In early March 2015, Divac was hired by the Sacramento Kings as their vice president of basketball and franchise operations. Brought into the organization by the principal owner Vivek Ranadivé towards the end of a turbulent season, Divac's arrival came in the wake of head coach Mike Malone's firing and the eventual hiring of George Karl. Working alongside the team's general manager Pete D'Alessandro, Divac's initial duties with the Kings were reported to be advising the front office and coaches as well as assisting with branding and fan outreach. However, such broadly defined job responsibilities immediately led to press speculation about Divac's role within the organization that in addition to general manager D'Alessandro also featured assistant GM Mike Bratz, special assistant to the GM Mitch Richmond, director of player personnel and analytics Dean Oliver, adviser to the chairman Chris Mullin, as well as a head coach, Karl, who has always wanted to be involved in personnel issues. Within a month of Divac's hiring, ESPN's Marc Stein reported that "despite the Kings not yet announcing their new power structure, Divac is indeed already regarded as the team's top basketball official by owner Ranadivé". On June 10, 2015, two weeks before the NBA draft, general manager D'Alessandro left the Kings by accepting a front-office position with the Denver Nuggets amid reports he did so due to being stripped of his decision-making power after Ranadivé hired Divac. Only days before the draft, animosity between head coach Karl and the team's star center DeMarcus Cousins reignited, as Karl reportedly lobbied Divac, as well as multiple players on the Kings' roster, in order to make the case to owner Ranadive that Cousins needs to be traded. As a result, against the backdrop of Cousins calling Karl a "snake" on Twitter, Divac reportedly discussed multiple Cousins trade scenarios with various teams, but ultimately no deal got made. At the 2015 NBA draft, with the 6th pick, the Kings selected 21-year-old center Willie Cauley-Stein out of Kentucky. Less than a week following the draft, with the dissolution of the Karl—Cousins relationship on public display, the Kings' ultimately unsuccessful attempt at landing University of Kentucky head coach John Calipari to replace Karl was reported. In early July 2015, in an effort of clearing salary cap space in order to immediately go after free agents, the Kings agreed to a trade with the Philadelphia 76ers, sending Nik Stauskas, Carl Landry, and Jason Thompson, along with the Kings' future first round draft pick to the Sixers as well as the rights to swap first round picks in 2016 and 2017 while receiving the rights to Sixers overseas players Artūras Gudaitis and Luka Mitrović in return. Two days later, they announced the acquisitions of two free agents: 29-year-old Marco Belinelli on a three-year US$19 million contract and 29-year-old point guard Rajon Rondo for one year for US$10 million. This was followed by signing twenty-six-year-old center Kosta Koufos for four years and US$33 million with his role envisioned as the backup for Cousins. With the free agent signings done, Divac turned his attention to attempting to mend the relations between the team's head coach Karl and its star center Cousins ahead of the 2015-16 season, admitting publicly on July 9, 2015 on CBS Sports Radio's The Jim Rome Show that the relationship between the two "isn't pretty right now". A few days later, on July 13, 2015, during a 2015 NBA Summer League game in Las Vegas, the two shared an awkward on-camera handshake as Karl approached and Cousins reluctantly shook the coach's hand before turning away. Later that week, Divac summoned Cousins and Karl to a private counseling session. General manager Divac was promoted to the Kings' vice president of basketball operations and general manager on August 31, 2015. Amid a tense and incident-filled season that saw the team briefly reach the final playoff spot in the Western Conference before unravelling with extended losing streaks in late January and early February 2016, the organization reportedly made a decision to fire their head coach George Karl during the upcoming All-Star break, a move pushed for by Divac. However, in a quick about-face, Karl got retained after meeting with Divac and reportedly pledging to make changes to address concerns within the organization about his defensive schemes and practice policies. It was later reported that the move to fire Karl on this occasion got scuttled by the Kings minority owners over financial concerns. A month and a half later, in late March 2016, Divac signed a multi-year contract extension with the organization. The team finished the season 33–49, eight games out of the playoffs, good for 10th spot in the Western Conference. Their final season in Sleep Train Arena, the team's home since 1988, it was also their first 30 plus win campaign after seven consecutive seasons of fewer than 30 wins. Early into the team's offseason, in mid April 2016, the Kings organization fired head coach Karl, a decision made by Divac who had reportedly been pushing for it for months. Within three weeks, during which Divac interviewed head coaching candidates Sam Mitchell, Vinny Del Negro, Mike Woodson, David Blatt, Mark Jackson, Jeff Hornacek, Nate McMillan, Patrick Ewing, Elston Turner, and Corliss Williamson, the Kings hired Dave Joerger as their new head coach, signing him to a four-year deal worth US$16 million. At the 2016 NBA draft, with the 8th pick, the Kings selected Marquese Chriss out of the University of Washington, but traded him to the Phoenix Suns for rights to Bogdan Bogdanović as well as the Suns' 2016 draft 13th and 28th picks, Georgios Papagiannis and Skal Labissière, respectively. At the 2017 NBA draft, with the 5th pick, the Kings selected point guard De'Aaron Fox out of Kentucky. At the 2018 NBA draft, the Kings selected Marvin Bagley III with the second overall pick, passing on Luka Dončić who would become a MVP candidate within two years into his NBA career. In 2018–19 season the Sacramento Kings finished 9th in the Western conference. However, the season was evaluated as successful for the Kings. The 2019–20 NBA season was suspended in March as a result of the COVID-19 pandemic, and the Sacramento Kings were invited to the 22-team 2020 NBA Bubble. However, the Kings did not manage to qualify for the playoffs, their 14th consecutive season without a playoff appearance, and finished the season with a 31–41 record. Shortly thereafter, on August 14, 2020, Divac stepped down as general manager. Investments Divac has been involved in many non-basketball endeavors while still actively playing in the NBA, and more so after he retired. He is an active restaurant investor in the Sacramento, California area. However, his attempts to make major investments in Serbia failed, for a variety of reasons. The most notable affair was a highly publicized business venture—takeover bid of profitable beverage producer Knjaz Miloš. Divac's company "Apurna", in a joint venture with French dairy giant Danone, ostensibly proposed the best bid, but the takeover was aborted by the Serbia's Securities Commission, because Danone/Apurna allegedly offered extra money to small shareholders. In the repeated bid, Divac and Danone eventually withdrew and the sale went to FPP Balkan Ltd., a privatization fund from the Cayman Islands. The entire messy affair caused great friction within the Serbian government, wide speculation about corruption, resignation of the Securities Commission chief, and even a police investigation. Another similar, though less spectacular, episode happened with 2005 Divac's attempt to take over the Večernje novosti, a Serbian high-circulation daily. He made an agreement with small shareholders to take over the company by means of registering a new company with joint capital, which would increase the share capital. However, the Serbian Government intervened and halted what should have been a mere technical move. While the attempted takeover was a "backdoor" one indeed, it was legal and similar cases had already occurred. The government ostensibly feared lack of control over the influential daily. Even though the Supreme Court of Serbia eventually ruled in Divac's favor, he withdrew from the contest, citing "friendly advice" by unnamed persons. Embittered, he decided to stop his attempts to invest in Serbia: "All of this is ugly and I'm very upset... I realized that there's no place for me in Serbia and my friends can meet me in Madrid from now on... In Serbia, some different rules are in effect, and I can't conceive them". However, that turned out not to be true, as in October 2007 Divac got legally registered as the 100% owner of Voda Voda, a bottled water brand previously owned by businessman Vojin Đorđević. That transaction was also followed by a stir of controversy, as Đorđević publicly accused Divac of deceit, asserting that he broke a gentlemen's agreement they had, and questioning the validity of the contract that Divac presented to the Serbian Business Registers Agency. The circumstances surrounding the deal (as of November 2007) are still unclear: Divac claims that he indeed loaned some money to Đorđević's Si&Si company, which was in financial trouble, and after Đorđević failed to fulfill his part of the deal, just used the contract, already properly signed by Đorđević, to claim ownership of the company. Humanitarian work Divac is a humanitarian worker, focusing on aid to children worldwide and refugees in his home country. Along with six Serbian basketball teammates, Divac established the charity called Group Seven, later renamed to "Divac's Children Foundation", and works closely with International Orthodox Christian Charities (IOCC), helping them to raise around US$500,000 for humanitarian assistance in Serbia since 1997. Divac's own foundation, presided by his wife Snežana, provided over $2,500,000 in humanitarian assistance through 1998–2007. In 2000, the NBA named Divac as the recipient of the J. Walter Kennedy Citizenship Award. The honor is presented annually to a player, coach or athletic trainer who shows outstanding service and dedication to the community. In late 2007, Divac founded a humanitarian organization, "You Can Too" (Serbian: Можеш и ти/Možeš i ti), with the goal of restoring abandoned homes in villages throughout Serbia and Africa, thereby providing shelter for homeless refugees. Around 7,800 of those people still live in collective centers under poor conditions, so the organization has employed itself to buy abandoned countryside houses, in an attempt to finally solve their accommodation problem. From September 21 to 23, 2007, Divac organized an official farewell from his active basketball career in his hometown Prijepolje and Belgrade, simultaneously promoting the "You Can Too" campaign. The spectacle culminated in a gathering of Divac and his worldwide friends in front of 10,000 people outside the National Assembly building. In popular culture In the early 1990s, the song "Vlade Divac" by Belgrade band Deca Loših Muzičara, devoted to his move to the Lakers, was a big hit; the band finally got to personally meet Divac and perform the song with him on his farewell party in 2007. During his time with the Lakers, Divac's popularity and marketing potential, in addition to his entertaining and good-natured personality, were picked up on by the American TV industry. As a result, he appeared quite a few times on Los Angeles-based late night programmes such as The Arsenio Hall Show and The Tonight Show with Jay Leno. In 1990, he was featured in a commercial with Laker teammates A. C. Green and Mychal Thompson for the Schick brand razor company. He also appeared in American sitcoms Married... with Children and Coach, as well as in the short lived Good Sports sitcom. On the big screen Divac took part in basketball-based movies Eddie, Space Jam and Juwanna Mann. Later in his career, he appeared on Larry King Live in 1999 and The Late Late Show in 2002. In Serbia, throughout his playing career, Divac regularly appeared in commercials pitching products ranging from Atlas Beer to Société Générale mortgage credit plans. He appeared in a national TV commercial in the United States alongside former NBA star Darryl Dawkins for Taco Bell. Divac appeared as a special guest on Eurovision 2008. He threw a ball into the audience, which marked the beginning of televoting. Divac features in the ESPN 30 for 30 documentary Once Brothers, where he discusses the exploits of the Yugoslavia national basketball team in the late 1980s and early 1990s and how the Yugoslav Wars tore them apart, especially in context of his broken friendship with Croatian player Dražen Petrović. Divac appears in Boris Malagurski's documentary film The Weight of Chains'', in which he talks about the 1999 NATO bombing of Yugoslavia. Personal life Divac and his wife, Snežana, have two sons, Luka and Matija, and an adopted daughter, Petra, whose biological parents were killed by Kosovo Liberation Army snipers. On January 7, 2014, Divac's father Milenko died after injuries sustained in a car accident. Filmography Film Selected television See also List of National Basketball Association career blocks leaders List of National Basketball Association players with 10 or more blocks in a game List of Serbian NBA players Notes References Further reading External links Euroleague.net 50 greatest contributors 1968 births Living people Basketball players at the 1988 Summer Olympics Basketball players at the 1996 Summer Olympics Centers (basketball) Charlotte Hornets players FIBA EuroBasket-winning players FIBA Hall of Fame inductees FIBA World Championship-winning players KK Crvena zvezda players KK Partizan players KK Sloga players Los Angeles Lakers draft picks Los Angeles Lakers players Los Angeles Lakers scouts Medalists at the 1988 Summer Olympics Medalists at the 1996 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association general managers National Basketball Association players from Serbia National Basketball Association players with retired numbers National Basketball Association scouts from Europe Olympic basketball players of Yugoslavia Olympic medalists in basketball Olympic silver medalists for Yugoslavia Olympic silver medalists for Serbia and Montenegro People from Prijepolje Recipients of the Olympic Order Recipients of the Order of St. Sava Sacramento Kings players Sacramento Kings executives Serbian basketball scouts Serbian businesspeople Serbian basketball executives and administrators Serbian expatriate basketball people in the United States Serbian men's basketball players Universiade gold medalists for Yugoslavia Universiade medalists in basketball Yugoslav expatriate sportspeople in the United States Yugoslav men's basketball players 1990 FIBA World Championship players 2002 FIBA World Championship players 1986 FIBA World Championship players Medalists at the 1987 Summer Universiade	true	[ "IR or Ir may refer to:\n\nArts and entertainment\n Imaginary Realities, a MUD community online magazine\n Integrated resort, a euphemism for a casino in Singapore\n I.R. Baboon, a fictional character in the cartoon series I Am Weasel\n\nBusinesses and organizations\n\nTransportation\n Illinois Railway, US\n Indian Railways, the state-owned railway company of India\n Iran Air (IATA airline code)\n IR Ishikawa Railway, the local railway company in Ishikawa, Japan\n Iarnród Éireann (Irish Rail), the national passenger and freight railway system of the Republic of Ireland\n Israel Railways, the state-owned railway company of Israel\n\nOther businesses and organizations\n Ingersoll Rand (NYSE trading symbol IR)\n International Rectifier, a former manufacturer of power semiconductors\n Independent-Republican Party of Minnesota, former name of the Republican Party of Minnesota\n\nFinance\nIncidence rate (market research)\nInterest rate, or (when referring to an asset class) interest rate derivative\n Information ratio, when referring to risk-adjusted returns of a financial security\n Investor relations, a management responsibility in which companies disclose information for regulatory compliance and for bond/share-holders to make investment judgments\n\nScience and technology\n\nBiology and medicine\n Immediate-release, related to time release technology in pharmaceuticals\n Incidence Rate, in epidemiology\n Insulin receptor, a transmembrane receptor that is activated by insulin\n Insulin resistance, a pathological condition\n Interventional radiology and interventional radiologist, an independent medical specialty\n Inverted repeat, a sequence of nucleotides that is the reversed complement of another sequence further downstream\n\nComputing\n .ir, the Internet country code top-level domain for Iran\n Adobe ImageReady, a bitmap graphics editor shipped with Adobe Photoshop by Adobe Systems\n Image retention, the LCD and plasma display equivalent of screen burn\n Information retrieval, the science of searching for information in or as documents or databases\n Information revolution, one of the theoretical frameworks within which trends in current society can be conceptualized\n Institutional repository, a digital collection for preserving the intellectual output of an institution\n Institutional research, the collection, analysis, and reporting of institutional data\n Instruction register, part of a CPU's control unit\n Intermediate representation, a computer data structure\n Internal router\n\nOther uses in science and technology\n Ir (newspaper), Latvian weekly newspaper\n Infrared, a portion of the electromagnetic radiation spectrum\n Impulse response, an output function of a dynamic system presented with a brief input signal\n Insulation resistance, a measure of how well the insulation material is performing in an electric appliance\n Ionizing radiation\n Iridium (chemical symbol Ir), the 77th element\n\nOther uses\n \n Industrial relations, the relations between management and workers in industry\n Ingenieur, abbreviated as ir., an engineer's degree awarded by technical universities in the Netherlands, Belgium, Indonesia, and Malaysia.\n Injured reserve list, a reserve list for professional teams to use if a player is injured and unable to play for an extended time\n International relations, in political science, the study of foreign affairs of and relations among states\n International Relations (journal), an academic journal\n International rules football a hybrid code of football\n IR, the ISO country code for Iran\n Ir (cuneiform), a sign in cuneiform writing \n Ir language, also known as Ta'Oi language. spoken in parts of Laos and Vietnam\n IR, an abbreviation of the Istro-Romanian language used in linguistics\n\nSee also\n ℝ, the symbol of the set of real numbers in mathematics\n Inland Revenue Department (disambiguation), a government revenue service in several countries\n International Rescue (disambiguation)\n IRS (disambiguation)", ".ir is the Internet country code top-level domain (ccTLD) for Iran. It is managed by the Institute for Research in Fundamental Sciences.\n\nSecond-level domains \n .ir – public\n .ac.ir – academic (tertiary education and research establishments) and learned societies.\n .co.ir – commercial/companies\n .gov.ir – government (Islamic Republic of Iran)\n .id.ir – personal, everyone has a unique national identity number\n .net.ir – ISPs and network companies approved by IRTCT\n .org.ir – non-profit organisations\n .sch.ir – schools, primary and secondary education\n\nPersian domains \nPersian internationalized domain names are available for registration under .ایران.ir for public, in the Persian script.\n\nIn 2010, ICANN approved IRNIC's proposal for the ایران. IDN ccTLD (representing the Persian spelling of Iran), pending the final step of String Delegation.\n\nDomain hacks\nThe URL \"ryana.ir\" is a redirect to the budget airline website ryanair.com. It is used as a typing shortcut. Some internet users may mistakenly believe that .ir is the ccTLD for the Republic of Ireland, the home country of Ryanair (which is actually .ie).\n\nThe URL \"renmark.ir\" is a redirect to the Investor Relations firm Renmark Financial Communications Inc. The .ir in this instance would stand for Investor Relations.\n\nTestbeds \n .dnssec.ir – limited term testbed for DNSSEC support\n\nReferences\n\nExternal links\n IANA .ir whois information\n IRNIC, Dot-IR (.ir) ccTLD Registry\n List of Resellers of IRNIC\n\nCountry code top-level domains\nInternet in Iran\nMass media in Iran\nCouncil of European National Top Level Domain Registries members\n1994 establishments in Iran\n\nsv:Toppdomän#I" ]
[ "Vlade Divac", "KK Partizan", "what is the connection between divac and kk partizan", "Divac and former teammate Predrag Danilovic took over their former club KK Partizan.", "when did he start playing for kk partizan", "In late 2000,", "how long did he play for ir", "after a few years the duo ran out of patience and pulled out of the venture in late 2004" ]	C_ae1a7ce0b4144088b0f2ad1f39380eb4_0	did he get injured	4	did Vlade Divac get injured	Vlade Divac	In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilovic took over their former club KK Partizan. They did so on initiative by Ivica Dacic, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milosevic, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from regime change, Dacic saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilovic took the vice-president role. Freshly retired from playing, Danilovic was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000-01 season before they decided in summer 2001 to bring back their mentor Dusko Vujosevic to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports gets passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan wasn't and still isn't really clear, potential investors decided to stay away, at least until the law appears. Divac and Danilovic appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end-goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. CANNOTANSWER	Divac became the club's president	Vlade Divac (, ; born February 3, 1968) is a Serbian professional basketball executive and former player who was most recently the vice president of basketball operations and general manager of the Sacramento Kings of the National Basketball Association (NBA). Divac spent most of his playing career in the NBA. At , he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition. He was elected to the Naismith Memorial Basketball Hall of Fame in 2019. Divac is a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a four-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame. Professional career Sloga (1983–1986) Divac began playing basketball in his home town Prijepolje for the team KK Elan. He began his professional career in Yugoslavia playing for Sloga from Kraljevo, and was immediately noted for scoring 27 points against Crvena zvezda. Partizan (1986–1989) In the summer of 1986, Divac was the top star of the basketball transfer season, and he ended up signing with KK Partizan for DM14,000. In the 1986-87 Yugoslav First League season, with players like Divac, Aleksandar Đorđević, Žarko Paspalj, Željko Obradović, and with coach Duško Vujošević at the helm, Partizan had a "dream team", which won the Yugoslavian League title. In the subsequent 1987-88 FIBA European Champions Cup season (now called EuroLeague), the club failed to reach the top of the EuroLeague, after having lost to Maccabi Tel Aviv in the semifinal in Ghent. Jugoplastika, with Dino Rađa and Toni Kukoč, was a stronger team in the subsequent three years, reigning both in Yugoslavia and in Europe. Divac had an unusual style compared to most other centers of his generation: despite his height, he possessed good mobility, had good control of the ball, and was a decent shooter. On occasion, he would also act as a play maker. His trademark moves included a mid-range shot at the top of the key and flip shots around the rim, while facing the complete opposite direction. His quirky moves complemented how he liked playing gags on the court: in the 1989 EuroBasket, he lifted teammate Zoran Radović for a slam dunk. In just four professional seasons in Europe, he became the most sought-after big man on the continent, after Arvydas Sabonis. Los Angeles Lakers (1989–1996) Drafted into the NBA in 1989 by the Los Angeles Lakers, Divac became one of the first European players to have an impact in the league. Under the mentorship of Kareem Abdul-Jabbar and Magic Johnson, he improved his play and adapted to the American style of basketball. Though he spoke no English, he quickly became popular among his teammates and the public for his charm and joviality. In the 1989–90 season, he was selected into the NBA All-Rookie Team. Divac earned a reputation for flopping, or deceiving the officials into calling a foul on the other team by purposely falling to the floor upon contact with an opposing player. Veteran NBA forward P.J. Brown claimed that Divac might have been the best of all time at flopping. Divac freely admitted doing so, adding that he usually did it when he felt like the officials had missed some calls and owed him. However, when the NBA instituted anti-flopping penalties in 2012, Divac expressed his support for such rules, stating that he felt players after him were "overdo[ing] it" with respect to flopping. Ian Thomsen, a Sports Illustrated columnist, grouped Divac with fellow international players Anderson Varejão and Manu Ginóbili as the players who "made [flopping] famous", exaggerating contact on the court in a manner analogous to diving in FIBA games. Charlotte Hornets (1996–1998) On July 1, 1996, Divac was traded to the Charlotte Hornets for the draft rights to Kobe Bryant and played two seasons there until signing with the Sacramento Kings in July 1998. Crvena zvezda (1999) During the 1998–99 NBA lockout, in January 1999, Divac played 2 games for Partizan's eternal rival KK Crvena zvezda, in the 1998–99 EuroLeague season. His debut for the crveno-beli took place mid-season, on Orthodox Christmas, versus a heavily favoured Žalgiris side led by Tyus Edney, Mindaugas Žukauskas, Saulius Štombergas, and Jiří Zídek Jr. Supported by a raucous home crowd and energized by Divac's arrival, as well as his 16 points and 8 rebounds, Crvena zvezda pulled off a 77–69 memorable upset win. Divac's brief stint with Crvena zvezda, for which he reportedly got paid US$250,000 per game, immediately became a sore point with KK Partizan fans, who unfurled a banner calling him a traitor, at their club's next game. The issue of playing for the hated cross-town rival reignited several years later, when Divac returned to KK Partizan as club president. At the time, he stated his decision to play for Crvena zvezda was "a mistake". Sacramento Kings (1999–2004) On January 22, 1999, Divac signed a six-year, $62.5 million contract as a free agent with the Sacramento Kings, where he played for six seasons alongside fellow countryman Peja Stojaković. Teamed with Stojaković, Hedo Türkoğlu, Chris Webber and Mike Bibby, Divac revitalized the Sacramento Kings franchise. The Kings rose in the NBA ranks, becoming a perennial playoff contender and eventually a championship contender, leading the league in wins in 2001-02. The Kings, however, could not get past the Los Angeles Lakers, who beat them controversially in a 7-game series in 2002, which has later been dubbed by some as the 'greatest tragedy in sports history'. Return to the Lakers (2004–2005) After the 2003–04 NBA season, Divac became a free agent. On July 20, 2004, he signed a two-year contract to return to the Lakers, part of Mitch Kupchak's plan to overhaul Laker basketball. The Lakers, following a defeat in the NBA Finals, had traded away or released most of their players, including Shaquille O'Neal, Gary Payton, Karl Malone, Derek Fisher, and more; Divac was supposed to help fill that void. However, Divac suffered back problems and could not play most of the season, and even when he returned, could only play about nine minutes per game, averaging 2.3 points per game and 2.1 rebounds per game in 15 games, he played 8 games early in the season and 7 more in the final month of the season. On July 14, 2005, 37-year-old Divac announced his retirement, ending his 16-year NBA and 22-year professional basketball career. Divac accepted a position with the Lakers as a European liaison to help with scouting overseas. The Kings retired Divac's No. 21 jersey in a ceremony on March 31, 2009. Over his 16 years in the NBA, Divac earned over $93 million in salary. In September 2009, he played for the "NBA Generations" team in the 2009 NBA Asia Challenge, a series of exhibitions against Korean Basketball League and Philippine Basketball Association players. National team career In summer 1986, at 18, right after signing for KK Partizan, Divac debuted for the senior Yugoslavia national basketball team at the 1986 FIBA World Championship in Madrid, on invitation by the head coach Krešimir Ćosić. However, the excellent rookie's performance was spoiled by the event in the semi-finals against the Soviet Union. Forty-five seconds before the end, Yugoslavia had a comfortable lead of 9 points, but the Soviets scored two three-pointers within a few seconds and cut the difference to 3 points. Yugoslavia tried to hold the ball for the remaining time, opting to continue the play with throw-ins instead of free throws following fouls, but with only 14 seconds left, Divac committed a double dribble, the Soviets were awarded the ball, and tied the score with another three-pointer. In the overtime, the Soviets won by 1 point and Yugoslavs had to be content with the bronze. The next year, Divac participated in the team that took the gold at the 1987 FIBA Junior World Championship (which was later split into separate under-19 and under-21 events) in Bormio, Italy. That event launched the young generation of Yugoslavian basketball players, also featuring stars like Rađa and Kukoč, regarded as likely the best in history. Before the breakup of Yugoslavia, they would also take the titles at EuroBasket 1989 and the 1990 FIBA World Championship in Argentina, where they were led by Dražen Petrović, as well as the EuroBasket 1991 title, with Aleksandar Đorđević at point guard. When Yugoslavia won the gold in the 1990 FIBA World Championship, fans rushed onto the court. One of them was holding a Croatian flag, one of the six republics that made up Yugoslavia. Divac claims that he told the man that he should not be waving that flag, since this was a win for Yugoslavia. Divac claims the man made a derogatory remark about the Yugoslav flag, at which point Divac took his flag from him. This happened during a very tense time where nationalistic pride was threatening to tear Yugoslavia apart and ignite a war. The taking of the flag made Divac a hero to Serbs, and a villain to Croatians. Divac has stated that he did not mean it as an act against Croatia and he would have taken away a Serbian flag if a Serb fan had done the same. This action, along with the Yugoslav Wars, alienated Divac from many of his former Croatian friends, particularly Dražen Petrović, whom he considered his best friend. When FR Yugoslavia won the gold medal at the EuroBasket 1995, and Croatia won bronze, Croatia, still at war with Serbs from Croatia, walked off the podium during the medal ceremony. The teams had not faced each other in the tournament. NBA career statistics Regular season \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 5 \|\| 19.6 \|\| .499 \|\| .000 \|\| .708 \|\| 6.2 \|\| 0.9 \|\| 1.0 \|\| 1.4 \|\| 8.5 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 81 \|\| 28.2 \|\| .565 \|\| .357 \|\| .703 \|\| 8.1 \|\| 1.1 \|\| 1.3 \|\| 1.5 \|\| 11.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 36 \|\| 18 \|\| 27.2 \|\| .495 \|\| .263 \|\| .768 \|\| 6.9 \|\| 1.7 \|\| 1.5 \|\| 1.0 \|\| 11.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 69 \|\| 30.8 \|\| .485 \|\| .280 \|\| .689 \|\| 8.9 \|\| 2.8 \|\| 1.6 \|\| 1.7 \|\| 12.8 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 73 \|\| 34.0 \|\| .506 \|\| .191 \|\| .686 \|\| 10.8 \|\| 3.9 \|\| 1.2 \|\| 1.4 \|\| 14.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 80 \|\| 80 \|\| 35.1 \|\| .507 \|\| .185 \|\| .777 \|\| 10.4\|\| 4.1 \|\| 1.4 \|\| 2.2 \|\| 16.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 79 \|\| 31.3 \|\| .513 \|\| .167 \|\| .641 \|\| 8.6 \|\| 3.3 \|\| 1.0 \|\| 1.7 \|\| 12.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 81 \|\| 80 \|\| 35.1 \|\| .494 \|\| .234 \|\| .683 \|\| 9.0 \|\| 3.7 \|\| 1.3 \|\| 2.2 \|\| 12.6 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 64 \|\| 41 \|\| 28.2 \|\| .498 \|\| .214 \|\| .691 \|\| 8.1 \|\| 2.7 \|\| 1.3 \|\| 1.5 \|\| 10.4 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 50 \|\| 50 \|\| 35.2 \|\| .470 \|\| .256 \|\| .702 \|\| 10.0 \|\| 4.3 \|\| 0.9 \|\| 1.0 \|\| 14.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 82 \|\| 81 \|\| 29.0 \|\| .503 \|\| .269 \|\| .691 \|\| 8.0 \|\| 3.0 \|\| 1.3 \|\| 1.3 \|\| 12.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 29.9 \|\| .482 \|\| .286 \|\| .691 \|\| 8.3 \|\| 2.9 \|\| 1.1 \|\| 1.1 \|\| 12.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 30.3 \|\| .472 \|\| .231 \|\| .615 \|\| 8.4 \|\| 3.7 \|\| 1.0 \|\| 1.2 \|\| 11.1 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 29.8 \|\| .466 \|\| .240 \|\| .713 \|\| 7.2 \|\| 3.4 \|\| 1.0 \|\| 1.3 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 28.6 \|\| .470 \|\| .154 \|\| .654 \|\| 5.7 \|\| 5.3 \|\| 0.7 \|\| 0.1 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 15 \|\| 0 \|\| 8.7 \|\| .419 \|\| .000 \|\| .667 \|\| 2.1 \|\| 1.3 \|\| 0.3 \|\| 0.1 \|\| 2.3 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 1134 \|\| 979 \|\| 29.8 \|\| .495 \|\| .235 \|\| .692 \|\| 8.2 \|\| 3.1 \|\| 1.1 \|\| 1.4 \|\| 11.8 \|- class="sortbottom" \| style="text-align:center;" colspan="2"\| All-Star \| 1 \|\| 0 \|\| 9.0 \|\| .667 \|\| .000 \|\| – \|\| 6.0 \|\| 1.0 \|\| 2.0 \|\| 0.0 \|\| 8.0 Playoffs \|- \| style="text-align:left;"\| 1990 \| style="text-align:left;"\| LA Lakers \| 9 \|\| 1 \|\| 19.4 \|\| .727 \|\| .500 \|\| .895 \|\| 5.3 \|\| 1.1 \|\| 0.9 \|\| 1.7 \|\| 9.1 \|- \| style="text-align:left;"\| 1991 \| style="text-align:left;"\| LA Lakers \| 19 \|\| 19 \|\| 32.1 \|\| .564 \|\| .167 \|\| .803 \|\| 6.7 \|\| 1.1 \|\| 1.4 \|\| 2.2 \|\| 13.3 \|- \| style="text-align:left;"\| 1992 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 35.8 \|\| .349 \|\| .000 \|\| .900 \|\| 5.5 \|\| 3.8 \|\| 1.3 \|\| 0.8 \|\| 9.8 \|- \| style="text-align:left;"\| 1993 \| style="text-align:left;"\| LA Lakers \| 5 \|\| 5 \|\| 33.4 \|\| .500 \|\| .444 \|\| .545 \|\| 9.4 \|\| 5.6 \|\| 1.2 \|\| 2.4 \|\| 18.0 \|- \| style="text-align:left;"\| 1995 \| style="text-align:left;"\| LA Lakers \| 10 \|\| 10 \|\| 38.8 \|\| .467 \|\| .222 \|\| .645 \|\| 8.5 \|\| 3.1 \|\| 0.8 \|\| 1.3 \|\| 15.6 \|- \| style="text-align:left;"\| 1996 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 28.8 \|\| .429 \|\| .200 \|\| .625 \|\| 7.5 \|\| 2.0 \|\| 0.0 \|\| 1.3 \|\| 9.0 \|- \| style="text-align:left;"\| 1997 \| style="text-align:left;"\| Charlotte \| 3 \|\| 3 \|\| 38.7 \|\| .457 \|\| .000 \|\| .800 \|\| 8.7 \|\| 3.3 \|\| 1.0 \|\| 2.0 \|\| 18.0 \|- \| style="text-align:left;"\| 1998 \| style="text-align:left;"\| Charlotte \| 9 \|\| 9 \|\| 38.5 \|\| .483 \|\| .000 \|\| .606 \|\| 10.9 \|\| 3.4 \|\| 0.8 \|\| 1.6 \|\| 11.6 \|- \| style="text-align:left;"\| 1999 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 39.6 \|\| .446 \|\| .200 \|\| .833 \|\| 10.0 \|\| 4.6 \|\| 1.6 \|\| 0.8 \|\| 16.2 \|- \| style="text-align:left;"\| 2000 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 32.0 \|\| .357 \|\| .000 \|\| .696 \|\| 7.2 \|\| 2.8 \|\| 1.4 \|\| 0.8 \|\| 11.2 \|- \| style="text-align:left;"\| 2001 \| style="text-align:left;"\| Sacramento \| 8 \|\| 8 \|\| 28.1 \|\| .350 \|\| .333 \|\| .763 \|\| 8.4 \|\| 2.4 \|\| 1.0 \|\| 1.5 \|\| 10.8 \|- \| style="text-align:left;"\| 2002 \| style="text-align:left;"\| Sacramento \| 16 \|\| 16 \|\| 33.4 \|\| .464 \|\| .268 \|\| .755 \|\| 9.3 \|\| 1.7 \|\| 1.1 \|\| 1.3 \|\| 13.5 \|- \| style="text-align:left;"\| 2003 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 26.4 \|\| .560 \|\| .000 \|\| .673 \|\| 5.8 \|\| 2.3 \|\| 0.7 \|\| 0.9 \|\| 11.4 \|- \| style="text-align:left;"\| 2004 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 19.6 \|\| .437 \|\| .000 \|\| .739 \|\| 4.9 \|\| 1.8 \|\| 0.3 \|\| 0.4 \|\| 6.6 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 121 \|\| 113 \|\| 30.8 \|\| .480 \|\| .241 \|\| .731 \|\| 7.5 \|\| 2.4 \|\| 1.0 \|\| 1.4 \|\| 12.1 Major career achievements KK Partizan Yugoslav League Champion: (1987) 1988 EuroLeague Final Four: 3rd Place Yugoslav Cup Winner: (1989) Korać Cup Winner: (1989) Yugoslavia national team Earned gold medal with Yugoslavia's under-18 nationals at the 1985 FIBA Europe Under-16 Championship in Rousse, Bulgaria Earned gold medal with Yugoslavia's under-21 nationals at the 1986 FIBA Europe Under-18 Championship in Gmunden, Austria Earned gold medal with Yugoslavia's under-21 nationals at the 1987 FIBA Under-19 World Cup in Bormio, Italy, defeating the U.S. team twice in that tournament Earned silver medals in 1988 Summer Olympic Games (for SFR Yugoslavia) and 1996 Summer Olympic Games (for FR Yugoslavia) Earned gold medals with SFRY at the 1990 FIBA World Championship (Argentina) and with FRY at the 2002 FIBA World Championship (U.S.) Earned gold medals at EuroBasket in Zagreb 1989, and Rome 1991 (with SFRY), and in Athens 1995 (with FRY) NBA Named to the 1989–90 NBA All-Rookie First Team after averaging 8.5 ppg and 6.2 rpg for the Lakers Appeared in the 1991 NBA Finals against the Chicago Bulls and averaged 12.1 ppg, 7.5 rpg and 2.4 apg in 121 career NBA Playoff games Ranks 4th in Lakers franchise history with 830 blocked shots Ranked 2nd on the Kings in scoring (14.3 ppg), rebounds (10.0 rpg, 10th in the NBA), assists (4.3 apg) and blocked shots (1.02 bpg) in 1998–99 Named NBA All-Star, 2001 One of only five basketball players born and trained in Europe to play at least 1,000 NBA games (1,134; along with Dirk Nowitzki, Tony Parker, Pau Gasol, Boris Diaw) One of only four basketball players born and trained in Europe (Peja Stojaković, Dražen Petrović and Zydrunas Ilgauskas are the others) to have his number retired by an NBA team Administrative career Through the twilight of his playing career and afterwards, Divac focused on three fields: humanitarian work, sport management, and investment. KK Partizan president In late 2000, following the overthrow of Slobodan Milošević whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilović took over their former club KK Partizan. They did so on initiative by Ivica Dačić, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milošević, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from régime change, Dačić saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilović took the vice-president role. Freshly retired from playing, Danilović was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000–01 season before they decided in summer 2001 to bring back their mentor Duško Vujošević to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports was passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan was not and still is not really clear, potential investors decided to stay away, at least until the law came into effect. Divac and Danilović appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. LA Lakers scout In October 2005, right after ending his playing career with the Los Angeles Lakers, Divac got hired as the Lakers' European scout, reporting directly to the team's general manager Mitch Kupchak. He left the position in 2006. Real Madrid Baloncesto club management In June 2006, through his friendship with Predrag Mijatović, Divac linked up with Ramón Calderón as part of the lawyer's candidate bid for the presidency of Real Madrid. When Calderón closely won the club elections on July 2, 2006, Divac was announced as the head of operations at Real Madrid basketball club though the scope of his job description soon got reduced to consulting duties as president Calderón's adviser for basketball and club's international coordinator. However, Divac's role in the club's day-to-day operations turned out to be largely symbolic, and he even admitted as much in a March 2007 interview for Croatian weekly Globus: "I literally do nothing and I only serve as part of the royal club'''s image. I only accepted the job because of Mijatović, who is currently the football director at Real". By the end of 2007, following a financial settlement between the two parties, Divac moved on from the post for which he had been reportedly receiving an annual compensation of €300,000. Serbian Deputy Prime Minister's adviser In October 2008, Divac's political advisory engagement within the Serbian government as the sports, diaspora, and humanitarian advisor to the Deputy Prime Minister and Internal Affairs Minister Ivica Dačić, got announced. Olympic Committee of Serbia president Divac was proposed in 2000 as Yugoslavia's candidate for the Sport Commission of the International Olympic Committee in spring 2000. This candidature was withdrawn under pressure from Milošević regime. In February 2009, Divac ran for presidency of the Olympic Committee of Serbia against incumbent president Ivan Ćurković. He won the race after Ćurković withdrew just before the scheduled voting. In November 2012, he was re-elected as the sole candidate; the end of his second mandate coincides with the 2016 Summer Olympics in Rio de Janeiro. In December 2014, Kosovo was accepted as a full member of the International Olympic Committee. Divac and the Serbian Olympic Committee have been criticised, chiefly by the Democratic Party of Serbia, for failing to take any effort to prevent that. Divac stated that he is not happy with the decision of the IOC, but could not have prevented it as it had already been made, and said he would accept it "in the interest of the athletes". On May 9, 2017, he was succeeded by Serbian former basketball coach Božidar Maljković on position of the president of Olympic Committee of Serbia. Sacramento Kings front office Initial advisory role In early March 2015, Divac was hired by the Sacramento Kings as their vice president of basketball and franchise operations. Brought into the organization by the principal owner Vivek Ranadivé towards the end of a turbulent season, Divac's arrival came in the wake of head coach Mike Malone's firing and the eventual hiring of George Karl. Working alongside the team's general manager Pete D'Alessandro, Divac's initial duties with the Kings were reported to be advising the front office and coaches as well as assisting with branding and fan outreach. However, such broadly defined job responsibilities immediately led to press speculation about Divac's role within the organization that in addition to general manager D'Alessandro also featured assistant GM Mike Bratz, special assistant to the GM Mitch Richmond, director of player personnel and analytics Dean Oliver, adviser to the chairman Chris Mullin, as well as a head coach, Karl, who has always wanted to be involved in personnel issues. Within a month of Divac's hiring, ESPN's Marc Stein reported that "despite the Kings not yet announcing their new power structure, Divac is indeed already regarded as the team's top basketball official by owner Ranadivé". On June 10, 2015, two weeks before the NBA draft, general manager D'Alessandro left the Kings by accepting a front-office position with the Denver Nuggets amid reports he did so due to being stripped of his decision-making power after Ranadivé hired Divac. Only days before the draft, animosity between head coach Karl and the team's star center DeMarcus Cousins reignited, as Karl reportedly lobbied Divac, as well as multiple players on the Kings' roster, in order to make the case to owner Ranadive that Cousins needs to be traded. As a result, against the backdrop of Cousins calling Karl a "snake" on Twitter, Divac reportedly discussed multiple Cousins trade scenarios with various teams, but ultimately no deal got made. At the 2015 NBA draft, with the 6th pick, the Kings selected 21-year-old center Willie Cauley-Stein out of Kentucky. Less than a week following the draft, with the dissolution of the Karl—Cousins relationship on public display, the Kings' ultimately unsuccessful attempt at landing University of Kentucky head coach John Calipari to replace Karl was reported. In early July 2015, in an effort of clearing salary cap space in order to immediately go after free agents, the Kings agreed to a trade with the Philadelphia 76ers, sending Nik Stauskas, Carl Landry, and Jason Thompson, along with the Kings' future first round draft pick to the Sixers as well as the rights to swap first round picks in 2016 and 2017 while receiving the rights to Sixers overseas players Artūras Gudaitis and Luka Mitrović in return. Two days later, they announced the acquisitions of two free agents: 29-year-old Marco Belinelli on a three-year US$19 million contract and 29-year-old point guard Rajon Rondo for one year for US$10 million. This was followed by signing twenty-six-year-old center Kosta Koufos for four years and US$33 million with his role envisioned as the backup for Cousins. With the free agent signings done, Divac turned his attention to attempting to mend the relations between the team's head coach Karl and its star center Cousins ahead of the 2015-16 season, admitting publicly on July 9, 2015 on CBS Sports Radio's The Jim Rome Show that the relationship between the two "isn't pretty right now". A few days later, on July 13, 2015, during a 2015 NBA Summer League game in Las Vegas, the two shared an awkward on-camera handshake as Karl approached and Cousins reluctantly shook the coach's hand before turning away. Later that week, Divac summoned Cousins and Karl to a private counseling session. General manager Divac was promoted to the Kings' vice president of basketball operations and general manager on August 31, 2015. Amid a tense and incident-filled season that saw the team briefly reach the final playoff spot in the Western Conference before unravelling with extended losing streaks in late January and early February 2016, the organization reportedly made a decision to fire their head coach George Karl during the upcoming All-Star break, a move pushed for by Divac. However, in a quick about-face, Karl got retained after meeting with Divac and reportedly pledging to make changes to address concerns within the organization about his defensive schemes and practice policies. It was later reported that the move to fire Karl on this occasion got scuttled by the Kings minority owners over financial concerns. A month and a half later, in late March 2016, Divac signed a multi-year contract extension with the organization. The team finished the season 33–49, eight games out of the playoffs, good for 10th spot in the Western Conference. Their final season in Sleep Train Arena, the team's home since 1988, it was also their first 30 plus win campaign after seven consecutive seasons of fewer than 30 wins. Early into the team's offseason, in mid April 2016, the Kings organization fired head coach Karl, a decision made by Divac who had reportedly been pushing for it for months. Within three weeks, during which Divac interviewed head coaching candidates Sam Mitchell, Vinny Del Negro, Mike Woodson, David Blatt, Mark Jackson, Jeff Hornacek, Nate McMillan, Patrick Ewing, Elston Turner, and Corliss Williamson, the Kings hired Dave Joerger as their new head coach, signing him to a four-year deal worth US$16 million. At the 2016 NBA draft, with the 8th pick, the Kings selected Marquese Chriss out of the University of Washington, but traded him to the Phoenix Suns for rights to Bogdan Bogdanović as well as the Suns' 2016 draft 13th and 28th picks, Georgios Papagiannis and Skal Labissière, respectively. At the 2017 NBA draft, with the 5th pick, the Kings selected point guard De'Aaron Fox out of Kentucky. At the 2018 NBA draft, the Kings selected Marvin Bagley III with the second overall pick, passing on Luka Dončić who would become a MVP candidate within two years into his NBA career. In 2018–19 season the Sacramento Kings finished 9th in the Western conference. However, the season was evaluated as successful for the Kings. The 2019–20 NBA season was suspended in March as a result of the COVID-19 pandemic, and the Sacramento Kings were invited to the 22-team 2020 NBA Bubble. However, the Kings did not manage to qualify for the playoffs, their 14th consecutive season without a playoff appearance, and finished the season with a 31–41 record. Shortly thereafter, on August 14, 2020, Divac stepped down as general manager. Investments Divac has been involved in many non-basketball endeavors while still actively playing in the NBA, and more so after he retired. He is an active restaurant investor in the Sacramento, California area. However, his attempts to make major investments in Serbia failed, for a variety of reasons. The most notable affair was a highly publicized business venture—takeover bid of profitable beverage producer Knjaz Miloš. Divac's company "Apurna", in a joint venture with French dairy giant Danone, ostensibly proposed the best bid, but the takeover was aborted by the Serbia's Securities Commission, because Danone/Apurna allegedly offered extra money to small shareholders. In the repeated bid, Divac and Danone eventually withdrew and the sale went to FPP Balkan Ltd., a privatization fund from the Cayman Islands. The entire messy affair caused great friction within the Serbian government, wide speculation about corruption, resignation of the Securities Commission chief, and even a police investigation. Another similar, though less spectacular, episode happened with 2005 Divac's attempt to take over the Večernje novosti, a Serbian high-circulation daily. He made an agreement with small shareholders to take over the company by means of registering a new company with joint capital, which would increase the share capital. However, the Serbian Government intervened and halted what should have been a mere technical move. While the attempted takeover was a "backdoor" one indeed, it was legal and similar cases had already occurred. The government ostensibly feared lack of control over the influential daily. Even though the Supreme Court of Serbia eventually ruled in Divac's favor, he withdrew from the contest, citing "friendly advice" by unnamed persons. Embittered, he decided to stop his attempts to invest in Serbia: "All of this is ugly and I'm very upset... I realized that there's no place for me in Serbia and my friends can meet me in Madrid from now on... In Serbia, some different rules are in effect, and I can't conceive them". However, that turned out not to be true, as in October 2007 Divac got legally registered as the 100% owner of Voda Voda, a bottled water brand previously owned by businessman Vojin Đorđević. That transaction was also followed by a stir of controversy, as Đorđević publicly accused Divac of deceit, asserting that he broke a gentlemen's agreement they had, and questioning the validity of the contract that Divac presented to the Serbian Business Registers Agency. The circumstances surrounding the deal (as of November 2007) are still unclear: Divac claims that he indeed loaned some money to Đorđević's Si&Si company, which was in financial trouble, and after Đorđević failed to fulfill his part of the deal, just used the contract, already properly signed by Đorđević, to claim ownership of the company. Humanitarian work Divac is a humanitarian worker, focusing on aid to children worldwide and refugees in his home country. Along with six Serbian basketball teammates, Divac established the charity called Group Seven, later renamed to "Divac's Children Foundation", and works closely with International Orthodox Christian Charities (IOCC), helping them to raise around US$500,000 for humanitarian assistance in Serbia since 1997. Divac's own foundation, presided by his wife Snežana, provided over $2,500,000 in humanitarian assistance through 1998–2007. In 2000, the NBA named Divac as the recipient of the J. Walter Kennedy Citizenship Award. The honor is presented annually to a player, coach or athletic trainer who shows outstanding service and dedication to the community. In late 2007, Divac founded a humanitarian organization, "You Can Too" (Serbian: Можеш и ти/Možeš i ti), with the goal of restoring abandoned homes in villages throughout Serbia and Africa, thereby providing shelter for homeless refugees. Around 7,800 of those people still live in collective centers under poor conditions, so the organization has employed itself to buy abandoned countryside houses, in an attempt to finally solve their accommodation problem. From September 21 to 23, 2007, Divac organized an official farewell from his active basketball career in his hometown Prijepolje and Belgrade, simultaneously promoting the "You Can Too" campaign. The spectacle culminated in a gathering of Divac and his worldwide friends in front of 10,000 people outside the National Assembly building. In popular culture In the early 1990s, the song "Vlade Divac" by Belgrade band Deca Loših Muzičara, devoted to his move to the Lakers, was a big hit; the band finally got to personally meet Divac and perform the song with him on his farewell party in 2007. During his time with the Lakers, Divac's popularity and marketing potential, in addition to his entertaining and good-natured personality, were picked up on by the American TV industry. As a result, he appeared quite a few times on Los Angeles-based late night programmes such as The Arsenio Hall Show and The Tonight Show with Jay Leno. In 1990, he was featured in a commercial with Laker teammates A. C. Green and Mychal Thompson for the Schick brand razor company. He also appeared in American sitcoms Married... with Children and Coach, as well as in the short lived Good Sports sitcom. On the big screen Divac took part in basketball-based movies Eddie, Space Jam and Juwanna Mann. Later in his career, he appeared on Larry King Live in 1999 and The Late Late Show in 2002. In Serbia, throughout his playing career, Divac regularly appeared in commercials pitching products ranging from Atlas Beer to Société Générale mortgage credit plans. He appeared in a national TV commercial in the United States alongside former NBA star Darryl Dawkins for Taco Bell. Divac appeared as a special guest on Eurovision 2008. He threw a ball into the audience, which marked the beginning of televoting. Divac features in the ESPN 30 for 30 documentary Once Brothers, where he discusses the exploits of the Yugoslavia national basketball team in the late 1980s and early 1990s and how the Yugoslav Wars tore them apart, especially in context of his broken friendship with Croatian player Dražen Petrović. Divac appears in Boris Malagurski's documentary film The Weight of Chains'', in which he talks about the 1999 NATO bombing of Yugoslavia. Personal life Divac and his wife, Snežana, have two sons, Luka and Matija, and an adopted daughter, Petra, whose biological parents were killed by Kosovo Liberation Army snipers. On January 7, 2014, Divac's father Milenko died after injuries sustained in a car accident. Filmography Film Selected television See also List of National Basketball Association career blocks leaders List of National Basketball Association players with 10 or more blocks in a game List of Serbian NBA players Notes References Further reading External links Euroleague.net 50 greatest contributors 1968 births Living people Basketball players at the 1988 Summer Olympics Basketball players at the 1996 Summer Olympics Centers (basketball) Charlotte Hornets players FIBA EuroBasket-winning players FIBA Hall of Fame inductees FIBA World Championship-winning players KK Crvena zvezda players KK Partizan players KK Sloga players Los Angeles Lakers draft picks Los Angeles Lakers players Los Angeles Lakers scouts Medalists at the 1988 Summer Olympics Medalists at the 1996 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association general managers National Basketball Association players from Serbia National Basketball Association players with retired numbers National Basketball Association scouts from Europe Olympic basketball players of Yugoslavia Olympic medalists in basketball Olympic silver medalists for Yugoslavia Olympic silver medalists for Serbia and Montenegro People from Prijepolje Recipients of the Olympic Order Recipients of the Order of St. Sava Sacramento Kings players Sacramento Kings executives Serbian basketball scouts Serbian businesspeople Serbian basketball executives and administrators Serbian expatriate basketball people in the United States Serbian men's basketball players Universiade gold medalists for Yugoslavia Universiade medalists in basketball Yugoslav expatriate sportspeople in the United States Yugoslav men's basketball players 1990 FIBA World Championship players 2002 FIBA World Championship players 1986 FIBA World Championship players Medalists at the 1987 Summer Universiade	true	[ "Moe Segal was a Grey Cup champion Canadian Football League player. He played offensive guard and tackle.\n\nA native Québécois, Segal played football with Ottawa Technical High School. He won the Grey Cup with the champion St. Hyacinthe-Donnacona Navy team in 1944 (unfortunately Segal was injured just before the championship game and did not get to play.) He played with the Ottawa Rough Riders in 1946 and the Ottawa Trojans in 1947.\n\nReferences\n\n1925 births\nPeople from Outaouais\nOttawa Rough Riders players\nOntario Rugby Football Union players\n2016 deaths\nPlayers of Canadian football from Quebec\nSt. Hyacinthe-Donnacona Navy football players", "Sanjay Kumar Rai (born 1 May 1979) is an Indian track and field athlete from Uttar Pradesh, India who specializes in the long jump event. He competed at the 2000 Sydney Olympic Games but did not record a valid jump. His personal best jump in IAAF competition is 8.03 m at the 2000 Asian Athletics Championships in Jakarta in 2000, where he won the silver medal.\n\nHe has succeeded T. C. Yohannan of Kerala. Later Amritpal Singh (8.08 m) broke his record in the 10th Federation Cup Athletics Championships at the Nehru Stadium in New Delhi in 2004.\n\nLater in his career he did not get proper support from IAF when he was injured.\n\nReferences\n\nExternal links\n \n \n\n1979 births\nOlympic athletes of India\nAthletes (track and field) at the 2000 Summer Olympics\nIndian male long jumpers\nLiving people\nAthletes from Uttar Pradesh" ]
[ "Vlade Divac", "KK Partizan", "what is the connection between divac and kk partizan", "Divac and former teammate Predrag Danilovic took over their former club KK Partizan.", "when did he start playing for kk partizan", "In late 2000,", "how long did he play for ir", "after a few years the duo ran out of patience and pulled out of the venture in late 2004", "did he get injured", "Divac became the club's president" ]	C_ae1a7ce0b4144088b0f2ad1f39380eb4_0	when did he become club president	5	when did Vlade Divac become club president	Vlade Divac	In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilovic took over their former club KK Partizan. They did so on initiative by Ivica Dacic, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milosevic, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from regime change, Dacic saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilovic took the vice-president role. Freshly retired from playing, Danilovic was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000-01 season before they decided in summer 2001 to bring back their mentor Dusko Vujosevic to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports gets passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan wasn't and still isn't really clear, potential investors decided to stay away, at least until the law appears. Divac and Danilovic appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end-goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. CANNOTANSWER	In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s,	Vlade Divac (, ; born February 3, 1968) is a Serbian professional basketball executive and former player who was most recently the vice president of basketball operations and general manager of the Sacramento Kings of the National Basketball Association (NBA). Divac spent most of his playing career in the NBA. At , he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition. He was elected to the Naismith Memorial Basketball Hall of Fame in 2019. Divac is a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a four-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame. Professional career Sloga (1983–1986) Divac began playing basketball in his home town Prijepolje for the team KK Elan. He began his professional career in Yugoslavia playing for Sloga from Kraljevo, and was immediately noted for scoring 27 points against Crvena zvezda. Partizan (1986–1989) In the summer of 1986, Divac was the top star of the basketball transfer season, and he ended up signing with KK Partizan for DM14,000. In the 1986-87 Yugoslav First League season, with players like Divac, Aleksandar Đorđević, Žarko Paspalj, Željko Obradović, and with coach Duško Vujošević at the helm, Partizan had a "dream team", which won the Yugoslavian League title. In the subsequent 1987-88 FIBA European Champions Cup season (now called EuroLeague), the club failed to reach the top of the EuroLeague, after having lost to Maccabi Tel Aviv in the semifinal in Ghent. Jugoplastika, with Dino Rađa and Toni Kukoč, was a stronger team in the subsequent three years, reigning both in Yugoslavia and in Europe. Divac had an unusual style compared to most other centers of his generation: despite his height, he possessed good mobility, had good control of the ball, and was a decent shooter. On occasion, he would also act as a play maker. His trademark moves included a mid-range shot at the top of the key and flip shots around the rim, while facing the complete opposite direction. His quirky moves complemented how he liked playing gags on the court: in the 1989 EuroBasket, he lifted teammate Zoran Radović for a slam dunk. In just four professional seasons in Europe, he became the most sought-after big man on the continent, after Arvydas Sabonis. Los Angeles Lakers (1989–1996) Drafted into the NBA in 1989 by the Los Angeles Lakers, Divac became one of the first European players to have an impact in the league. Under the mentorship of Kareem Abdul-Jabbar and Magic Johnson, he improved his play and adapted to the American style of basketball. Though he spoke no English, he quickly became popular among his teammates and the public for his charm and joviality. In the 1989–90 season, he was selected into the NBA All-Rookie Team. Divac earned a reputation for flopping, or deceiving the officials into calling a foul on the other team by purposely falling to the floor upon contact with an opposing player. Veteran NBA forward P.J. Brown claimed that Divac might have been the best of all time at flopping. Divac freely admitted doing so, adding that he usually did it when he felt like the officials had missed some calls and owed him. However, when the NBA instituted anti-flopping penalties in 2012, Divac expressed his support for such rules, stating that he felt players after him were "overdo[ing] it" with respect to flopping. Ian Thomsen, a Sports Illustrated columnist, grouped Divac with fellow international players Anderson Varejão and Manu Ginóbili as the players who "made [flopping] famous", exaggerating contact on the court in a manner analogous to diving in FIBA games. Charlotte Hornets (1996–1998) On July 1, 1996, Divac was traded to the Charlotte Hornets for the draft rights to Kobe Bryant and played two seasons there until signing with the Sacramento Kings in July 1998. Crvena zvezda (1999) During the 1998–99 NBA lockout, in January 1999, Divac played 2 games for Partizan's eternal rival KK Crvena zvezda, in the 1998–99 EuroLeague season. His debut for the crveno-beli took place mid-season, on Orthodox Christmas, versus a heavily favoured Žalgiris side led by Tyus Edney, Mindaugas Žukauskas, Saulius Štombergas, and Jiří Zídek Jr. Supported by a raucous home crowd and energized by Divac's arrival, as well as his 16 points and 8 rebounds, Crvena zvezda pulled off a 77–69 memorable upset win. Divac's brief stint with Crvena zvezda, for which he reportedly got paid US$250,000 per game, immediately became a sore point with KK Partizan fans, who unfurled a banner calling him a traitor, at their club's next game. The issue of playing for the hated cross-town rival reignited several years later, when Divac returned to KK Partizan as club president. At the time, he stated his decision to play for Crvena zvezda was "a mistake". Sacramento Kings (1999–2004) On January 22, 1999, Divac signed a six-year, $62.5 million contract as a free agent with the Sacramento Kings, where he played for six seasons alongside fellow countryman Peja Stojaković. Teamed with Stojaković, Hedo Türkoğlu, Chris Webber and Mike Bibby, Divac revitalized the Sacramento Kings franchise. The Kings rose in the NBA ranks, becoming a perennial playoff contender and eventually a championship contender, leading the league in wins in 2001-02. The Kings, however, could not get past the Los Angeles Lakers, who beat them controversially in a 7-game series in 2002, which has later been dubbed by some as the 'greatest tragedy in sports history'. Return to the Lakers (2004–2005) After the 2003–04 NBA season, Divac became a free agent. On July 20, 2004, he signed a two-year contract to return to the Lakers, part of Mitch Kupchak's plan to overhaul Laker basketball. The Lakers, following a defeat in the NBA Finals, had traded away or released most of their players, including Shaquille O'Neal, Gary Payton, Karl Malone, Derek Fisher, and more; Divac was supposed to help fill that void. However, Divac suffered back problems and could not play most of the season, and even when he returned, could only play about nine minutes per game, averaging 2.3 points per game and 2.1 rebounds per game in 15 games, he played 8 games early in the season and 7 more in the final month of the season. On July 14, 2005, 37-year-old Divac announced his retirement, ending his 16-year NBA and 22-year professional basketball career. Divac accepted a position with the Lakers as a European liaison to help with scouting overseas. The Kings retired Divac's No. 21 jersey in a ceremony on March 31, 2009. Over his 16 years in the NBA, Divac earned over $93 million in salary. In September 2009, he played for the "NBA Generations" team in the 2009 NBA Asia Challenge, a series of exhibitions against Korean Basketball League and Philippine Basketball Association players. National team career In summer 1986, at 18, right after signing for KK Partizan, Divac debuted for the senior Yugoslavia national basketball team at the 1986 FIBA World Championship in Madrid, on invitation by the head coach Krešimir Ćosić. However, the excellent rookie's performance was spoiled by the event in the semi-finals against the Soviet Union. Forty-five seconds before the end, Yugoslavia had a comfortable lead of 9 points, but the Soviets scored two three-pointers within a few seconds and cut the difference to 3 points. Yugoslavia tried to hold the ball for the remaining time, opting to continue the play with throw-ins instead of free throws following fouls, but with only 14 seconds left, Divac committed a double dribble, the Soviets were awarded the ball, and tied the score with another three-pointer. In the overtime, the Soviets won by 1 point and Yugoslavs had to be content with the bronze. The next year, Divac participated in the team that took the gold at the 1987 FIBA Junior World Championship (which was later split into separate under-19 and under-21 events) in Bormio, Italy. That event launched the young generation of Yugoslavian basketball players, also featuring stars like Rađa and Kukoč, regarded as likely the best in history. Before the breakup of Yugoslavia, they would also take the titles at EuroBasket 1989 and the 1990 FIBA World Championship in Argentina, where they were led by Dražen Petrović, as well as the EuroBasket 1991 title, with Aleksandar Đorđević at point guard. When Yugoslavia won the gold in the 1990 FIBA World Championship, fans rushed onto the court. One of them was holding a Croatian flag, one of the six republics that made up Yugoslavia. Divac claims that he told the man that he should not be waving that flag, since this was a win for Yugoslavia. Divac claims the man made a derogatory remark about the Yugoslav flag, at which point Divac took his flag from him. This happened during a very tense time where nationalistic pride was threatening to tear Yugoslavia apart and ignite a war. The taking of the flag made Divac a hero to Serbs, and a villain to Croatians. Divac has stated that he did not mean it as an act against Croatia and he would have taken away a Serbian flag if a Serb fan had done the same. This action, along with the Yugoslav Wars, alienated Divac from many of his former Croatian friends, particularly Dražen Petrović, whom he considered his best friend. When FR Yugoslavia won the gold medal at the EuroBasket 1995, and Croatia won bronze, Croatia, still at war with Serbs from Croatia, walked off the podium during the medal ceremony. The teams had not faced each other in the tournament. NBA career statistics Regular season \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 5 \|\| 19.6 \|\| .499 \|\| .000 \|\| .708 \|\| 6.2 \|\| 0.9 \|\| 1.0 \|\| 1.4 \|\| 8.5 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 81 \|\| 28.2 \|\| .565 \|\| .357 \|\| .703 \|\| 8.1 \|\| 1.1 \|\| 1.3 \|\| 1.5 \|\| 11.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 36 \|\| 18 \|\| 27.2 \|\| .495 \|\| .263 \|\| .768 \|\| 6.9 \|\| 1.7 \|\| 1.5 \|\| 1.0 \|\| 11.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 69 \|\| 30.8 \|\| .485 \|\| .280 \|\| .689 \|\| 8.9 \|\| 2.8 \|\| 1.6 \|\| 1.7 \|\| 12.8 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 73 \|\| 34.0 \|\| .506 \|\| .191 \|\| .686 \|\| 10.8 \|\| 3.9 \|\| 1.2 \|\| 1.4 \|\| 14.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 80 \|\| 80 \|\| 35.1 \|\| .507 \|\| .185 \|\| .777 \|\| 10.4\|\| 4.1 \|\| 1.4 \|\| 2.2 \|\| 16.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 79 \|\| 31.3 \|\| .513 \|\| .167 \|\| .641 \|\| 8.6 \|\| 3.3 \|\| 1.0 \|\| 1.7 \|\| 12.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 81 \|\| 80 \|\| 35.1 \|\| .494 \|\| .234 \|\| .683 \|\| 9.0 \|\| 3.7 \|\| 1.3 \|\| 2.2 \|\| 12.6 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 64 \|\| 41 \|\| 28.2 \|\| .498 \|\| .214 \|\| .691 \|\| 8.1 \|\| 2.7 \|\| 1.3 \|\| 1.5 \|\| 10.4 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 50 \|\| 50 \|\| 35.2 \|\| .470 \|\| .256 \|\| .702 \|\| 10.0 \|\| 4.3 \|\| 0.9 \|\| 1.0 \|\| 14.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 82 \|\| 81 \|\| 29.0 \|\| .503 \|\| .269 \|\| .691 \|\| 8.0 \|\| 3.0 \|\| 1.3 \|\| 1.3 \|\| 12.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 29.9 \|\| .482 \|\| .286 \|\| .691 \|\| 8.3 \|\| 2.9 \|\| 1.1 \|\| 1.1 \|\| 12.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 30.3 \|\| .472 \|\| .231 \|\| .615 \|\| 8.4 \|\| 3.7 \|\| 1.0 \|\| 1.2 \|\| 11.1 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 29.8 \|\| .466 \|\| .240 \|\| .713 \|\| 7.2 \|\| 3.4 \|\| 1.0 \|\| 1.3 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 28.6 \|\| .470 \|\| .154 \|\| .654 \|\| 5.7 \|\| 5.3 \|\| 0.7 \|\| 0.1 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 15 \|\| 0 \|\| 8.7 \|\| .419 \|\| .000 \|\| .667 \|\| 2.1 \|\| 1.3 \|\| 0.3 \|\| 0.1 \|\| 2.3 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 1134 \|\| 979 \|\| 29.8 \|\| .495 \|\| .235 \|\| .692 \|\| 8.2 \|\| 3.1 \|\| 1.1 \|\| 1.4 \|\| 11.8 \|- class="sortbottom" \| style="text-align:center;" colspan="2"\| All-Star \| 1 \|\| 0 \|\| 9.0 \|\| .667 \|\| .000 \|\| – \|\| 6.0 \|\| 1.0 \|\| 2.0 \|\| 0.0 \|\| 8.0 Playoffs \|- \| style="text-align:left;"\| 1990 \| style="text-align:left;"\| LA Lakers \| 9 \|\| 1 \|\| 19.4 \|\| .727 \|\| .500 \|\| .895 \|\| 5.3 \|\| 1.1 \|\| 0.9 \|\| 1.7 \|\| 9.1 \|- \| style="text-align:left;"\| 1991 \| style="text-align:left;"\| LA Lakers \| 19 \|\| 19 \|\| 32.1 \|\| .564 \|\| .167 \|\| .803 \|\| 6.7 \|\| 1.1 \|\| 1.4 \|\| 2.2 \|\| 13.3 \|- \| style="text-align:left;"\| 1992 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 35.8 \|\| .349 \|\| .000 \|\| .900 \|\| 5.5 \|\| 3.8 \|\| 1.3 \|\| 0.8 \|\| 9.8 \|- \| style="text-align:left;"\| 1993 \| style="text-align:left;"\| LA Lakers \| 5 \|\| 5 \|\| 33.4 \|\| .500 \|\| .444 \|\| .545 \|\| 9.4 \|\| 5.6 \|\| 1.2 \|\| 2.4 \|\| 18.0 \|- \| style="text-align:left;"\| 1995 \| style="text-align:left;"\| LA Lakers \| 10 \|\| 10 \|\| 38.8 \|\| .467 \|\| .222 \|\| .645 \|\| 8.5 \|\| 3.1 \|\| 0.8 \|\| 1.3 \|\| 15.6 \|- \| style="text-align:left;"\| 1996 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 28.8 \|\| .429 \|\| .200 \|\| .625 \|\| 7.5 \|\| 2.0 \|\| 0.0 \|\| 1.3 \|\| 9.0 \|- \| style="text-align:left;"\| 1997 \| style="text-align:left;"\| Charlotte \| 3 \|\| 3 \|\| 38.7 \|\| .457 \|\| .000 \|\| .800 \|\| 8.7 \|\| 3.3 \|\| 1.0 \|\| 2.0 \|\| 18.0 \|- \| style="text-align:left;"\| 1998 \| style="text-align:left;"\| Charlotte \| 9 \|\| 9 \|\| 38.5 \|\| .483 \|\| .000 \|\| .606 \|\| 10.9 \|\| 3.4 \|\| 0.8 \|\| 1.6 \|\| 11.6 \|- \| style="text-align:left;"\| 1999 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 39.6 \|\| .446 \|\| .200 \|\| .833 \|\| 10.0 \|\| 4.6 \|\| 1.6 \|\| 0.8 \|\| 16.2 \|- \| style="text-align:left;"\| 2000 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 32.0 \|\| .357 \|\| .000 \|\| .696 \|\| 7.2 \|\| 2.8 \|\| 1.4 \|\| 0.8 \|\| 11.2 \|- \| style="text-align:left;"\| 2001 \| style="text-align:left;"\| Sacramento \| 8 \|\| 8 \|\| 28.1 \|\| .350 \|\| .333 \|\| .763 \|\| 8.4 \|\| 2.4 \|\| 1.0 \|\| 1.5 \|\| 10.8 \|- \| style="text-align:left;"\| 2002 \| style="text-align:left;"\| Sacramento \| 16 \|\| 16 \|\| 33.4 \|\| .464 \|\| .268 \|\| .755 \|\| 9.3 \|\| 1.7 \|\| 1.1 \|\| 1.3 \|\| 13.5 \|- \| style="text-align:left;"\| 2003 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 26.4 \|\| .560 \|\| .000 \|\| .673 \|\| 5.8 \|\| 2.3 \|\| 0.7 \|\| 0.9 \|\| 11.4 \|- \| style="text-align:left;"\| 2004 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 19.6 \|\| .437 \|\| .000 \|\| .739 \|\| 4.9 \|\| 1.8 \|\| 0.3 \|\| 0.4 \|\| 6.6 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 121 \|\| 113 \|\| 30.8 \|\| .480 \|\| .241 \|\| .731 \|\| 7.5 \|\| 2.4 \|\| 1.0 \|\| 1.4 \|\| 12.1 Major career achievements KK Partizan Yugoslav League Champion: (1987) 1988 EuroLeague Final Four: 3rd Place Yugoslav Cup Winner: (1989) Korać Cup Winner: (1989) Yugoslavia national team Earned gold medal with Yugoslavia's under-18 nationals at the 1985 FIBA Europe Under-16 Championship in Rousse, Bulgaria Earned gold medal with Yugoslavia's under-21 nationals at the 1986 FIBA Europe Under-18 Championship in Gmunden, Austria Earned gold medal with Yugoslavia's under-21 nationals at the 1987 FIBA Under-19 World Cup in Bormio, Italy, defeating the U.S. team twice in that tournament Earned silver medals in 1988 Summer Olympic Games (for SFR Yugoslavia) and 1996 Summer Olympic Games (for FR Yugoslavia) Earned gold medals with SFRY at the 1990 FIBA World Championship (Argentina) and with FRY at the 2002 FIBA World Championship (U.S.) Earned gold medals at EuroBasket in Zagreb 1989, and Rome 1991 (with SFRY), and in Athens 1995 (with FRY) NBA Named to the 1989–90 NBA All-Rookie First Team after averaging 8.5 ppg and 6.2 rpg for the Lakers Appeared in the 1991 NBA Finals against the Chicago Bulls and averaged 12.1 ppg, 7.5 rpg and 2.4 apg in 121 career NBA Playoff games Ranks 4th in Lakers franchise history with 830 blocked shots Ranked 2nd on the Kings in scoring (14.3 ppg), rebounds (10.0 rpg, 10th in the NBA), assists (4.3 apg) and blocked shots (1.02 bpg) in 1998–99 Named NBA All-Star, 2001 One of only five basketball players born and trained in Europe to play at least 1,000 NBA games (1,134; along with Dirk Nowitzki, Tony Parker, Pau Gasol, Boris Diaw) One of only four basketball players born and trained in Europe (Peja Stojaković, Dražen Petrović and Zydrunas Ilgauskas are the others) to have his number retired by an NBA team Administrative career Through the twilight of his playing career and afterwards, Divac focused on three fields: humanitarian work, sport management, and investment. KK Partizan president In late 2000, following the overthrow of Slobodan Milošević whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilović took over their former club KK Partizan. They did so on initiative by Ivica Dačić, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milošević, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from régime change, Dačić saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilović took the vice-president role. Freshly retired from playing, Danilović was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000–01 season before they decided in summer 2001 to bring back their mentor Duško Vujošević to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports was passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan was not and still is not really clear, potential investors decided to stay away, at least until the law came into effect. Divac and Danilović appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. LA Lakers scout In October 2005, right after ending his playing career with the Los Angeles Lakers, Divac got hired as the Lakers' European scout, reporting directly to the team's general manager Mitch Kupchak. He left the position in 2006. Real Madrid Baloncesto club management In June 2006, through his friendship with Predrag Mijatović, Divac linked up with Ramón Calderón as part of the lawyer's candidate bid for the presidency of Real Madrid. When Calderón closely won the club elections on July 2, 2006, Divac was announced as the head of operations at Real Madrid basketball club though the scope of his job description soon got reduced to consulting duties as president Calderón's adviser for basketball and club's international coordinator. However, Divac's role in the club's day-to-day operations turned out to be largely symbolic, and he even admitted as much in a March 2007 interview for Croatian weekly Globus: "I literally do nothing and I only serve as part of the royal club'''s image. I only accepted the job because of Mijatović, who is currently the football director at Real". By the end of 2007, following a financial settlement between the two parties, Divac moved on from the post for which he had been reportedly receiving an annual compensation of €300,000. Serbian Deputy Prime Minister's adviser In October 2008, Divac's political advisory engagement within the Serbian government as the sports, diaspora, and humanitarian advisor to the Deputy Prime Minister and Internal Affairs Minister Ivica Dačić, got announced. Olympic Committee of Serbia president Divac was proposed in 2000 as Yugoslavia's candidate for the Sport Commission of the International Olympic Committee in spring 2000. This candidature was withdrawn under pressure from Milošević regime. In February 2009, Divac ran for presidency of the Olympic Committee of Serbia against incumbent president Ivan Ćurković. He won the race after Ćurković withdrew just before the scheduled voting. In November 2012, he was re-elected as the sole candidate; the end of his second mandate coincides with the 2016 Summer Olympics in Rio de Janeiro. In December 2014, Kosovo was accepted as a full member of the International Olympic Committee. Divac and the Serbian Olympic Committee have been criticised, chiefly by the Democratic Party of Serbia, for failing to take any effort to prevent that. Divac stated that he is not happy with the decision of the IOC, but could not have prevented it as it had already been made, and said he would accept it "in the interest of the athletes". On May 9, 2017, he was succeeded by Serbian former basketball coach Božidar Maljković on position of the president of Olympic Committee of Serbia. Sacramento Kings front office Initial advisory role In early March 2015, Divac was hired by the Sacramento Kings as their vice president of basketball and franchise operations. Brought into the organization by the principal owner Vivek Ranadivé towards the end of a turbulent season, Divac's arrival came in the wake of head coach Mike Malone's firing and the eventual hiring of George Karl. Working alongside the team's general manager Pete D'Alessandro, Divac's initial duties with the Kings were reported to be advising the front office and coaches as well as assisting with branding and fan outreach. However, such broadly defined job responsibilities immediately led to press speculation about Divac's role within the organization that in addition to general manager D'Alessandro also featured assistant GM Mike Bratz, special assistant to the GM Mitch Richmond, director of player personnel and analytics Dean Oliver, adviser to the chairman Chris Mullin, as well as a head coach, Karl, who has always wanted to be involved in personnel issues. Within a month of Divac's hiring, ESPN's Marc Stein reported that "despite the Kings not yet announcing their new power structure, Divac is indeed already regarded as the team's top basketball official by owner Ranadivé". On June 10, 2015, two weeks before the NBA draft, general manager D'Alessandro left the Kings by accepting a front-office position with the Denver Nuggets amid reports he did so due to being stripped of his decision-making power after Ranadivé hired Divac. Only days before the draft, animosity between head coach Karl and the team's star center DeMarcus Cousins reignited, as Karl reportedly lobbied Divac, as well as multiple players on the Kings' roster, in order to make the case to owner Ranadive that Cousins needs to be traded. As a result, against the backdrop of Cousins calling Karl a "snake" on Twitter, Divac reportedly discussed multiple Cousins trade scenarios with various teams, but ultimately no deal got made. At the 2015 NBA draft, with the 6th pick, the Kings selected 21-year-old center Willie Cauley-Stein out of Kentucky. Less than a week following the draft, with the dissolution of the Karl—Cousins relationship on public display, the Kings' ultimately unsuccessful attempt at landing University of Kentucky head coach John Calipari to replace Karl was reported. In early July 2015, in an effort of clearing salary cap space in order to immediately go after free agents, the Kings agreed to a trade with the Philadelphia 76ers, sending Nik Stauskas, Carl Landry, and Jason Thompson, along with the Kings' future first round draft pick to the Sixers as well as the rights to swap first round picks in 2016 and 2017 while receiving the rights to Sixers overseas players Artūras Gudaitis and Luka Mitrović in return. Two days later, they announced the acquisitions of two free agents: 29-year-old Marco Belinelli on a three-year US$19 million contract and 29-year-old point guard Rajon Rondo for one year for US$10 million. This was followed by signing twenty-six-year-old center Kosta Koufos for four years and US$33 million with his role envisioned as the backup for Cousins. With the free agent signings done, Divac turned his attention to attempting to mend the relations between the team's head coach Karl and its star center Cousins ahead of the 2015-16 season, admitting publicly on July 9, 2015 on CBS Sports Radio's The Jim Rome Show that the relationship between the two "isn't pretty right now". A few days later, on July 13, 2015, during a 2015 NBA Summer League game in Las Vegas, the two shared an awkward on-camera handshake as Karl approached and Cousins reluctantly shook the coach's hand before turning away. Later that week, Divac summoned Cousins and Karl to a private counseling session. General manager Divac was promoted to the Kings' vice president of basketball operations and general manager on August 31, 2015. Amid a tense and incident-filled season that saw the team briefly reach the final playoff spot in the Western Conference before unravelling with extended losing streaks in late January and early February 2016, the organization reportedly made a decision to fire their head coach George Karl during the upcoming All-Star break, a move pushed for by Divac. However, in a quick about-face, Karl got retained after meeting with Divac and reportedly pledging to make changes to address concerns within the organization about his defensive schemes and practice policies. It was later reported that the move to fire Karl on this occasion got scuttled by the Kings minority owners over financial concerns. A month and a half later, in late March 2016, Divac signed a multi-year contract extension with the organization. The team finished the season 33–49, eight games out of the playoffs, good for 10th spot in the Western Conference. Their final season in Sleep Train Arena, the team's home since 1988, it was also their first 30 plus win campaign after seven consecutive seasons of fewer than 30 wins. Early into the team's offseason, in mid April 2016, the Kings organization fired head coach Karl, a decision made by Divac who had reportedly been pushing for it for months. Within three weeks, during which Divac interviewed head coaching candidates Sam Mitchell, Vinny Del Negro, Mike Woodson, David Blatt, Mark Jackson, Jeff Hornacek, Nate McMillan, Patrick Ewing, Elston Turner, and Corliss Williamson, the Kings hired Dave Joerger as their new head coach, signing him to a four-year deal worth US$16 million. At the 2016 NBA draft, with the 8th pick, the Kings selected Marquese Chriss out of the University of Washington, but traded him to the Phoenix Suns for rights to Bogdan Bogdanović as well as the Suns' 2016 draft 13th and 28th picks, Georgios Papagiannis and Skal Labissière, respectively. At the 2017 NBA draft, with the 5th pick, the Kings selected point guard De'Aaron Fox out of Kentucky. At the 2018 NBA draft, the Kings selected Marvin Bagley III with the second overall pick, passing on Luka Dončić who would become a MVP candidate within two years into his NBA career. In 2018–19 season the Sacramento Kings finished 9th in the Western conference. However, the season was evaluated as successful for the Kings. The 2019–20 NBA season was suspended in March as a result of the COVID-19 pandemic, and the Sacramento Kings were invited to the 22-team 2020 NBA Bubble. However, the Kings did not manage to qualify for the playoffs, their 14th consecutive season without a playoff appearance, and finished the season with a 31–41 record. Shortly thereafter, on August 14, 2020, Divac stepped down as general manager. Investments Divac has been involved in many non-basketball endeavors while still actively playing in the NBA, and more so after he retired. He is an active restaurant investor in the Sacramento, California area. However, his attempts to make major investments in Serbia failed, for a variety of reasons. The most notable affair was a highly publicized business venture—takeover bid of profitable beverage producer Knjaz Miloš. Divac's company "Apurna", in a joint venture with French dairy giant Danone, ostensibly proposed the best bid, but the takeover was aborted by the Serbia's Securities Commission, because Danone/Apurna allegedly offered extra money to small shareholders. In the repeated bid, Divac and Danone eventually withdrew and the sale went to FPP Balkan Ltd., a privatization fund from the Cayman Islands. The entire messy affair caused great friction within the Serbian government, wide speculation about corruption, resignation of the Securities Commission chief, and even a police investigation. Another similar, though less spectacular, episode happened with 2005 Divac's attempt to take over the Večernje novosti, a Serbian high-circulation daily. He made an agreement with small shareholders to take over the company by means of registering a new company with joint capital, which would increase the share capital. However, the Serbian Government intervened and halted what should have been a mere technical move. While the attempted takeover was a "backdoor" one indeed, it was legal and similar cases had already occurred. The government ostensibly feared lack of control over the influential daily. Even though the Supreme Court of Serbia eventually ruled in Divac's favor, he withdrew from the contest, citing "friendly advice" by unnamed persons. Embittered, he decided to stop his attempts to invest in Serbia: "All of this is ugly and I'm very upset... I realized that there's no place for me in Serbia and my friends can meet me in Madrid from now on... In Serbia, some different rules are in effect, and I can't conceive them". However, that turned out not to be true, as in October 2007 Divac got legally registered as the 100% owner of Voda Voda, a bottled water brand previously owned by businessman Vojin Đorđević. That transaction was also followed by a stir of controversy, as Đorđević publicly accused Divac of deceit, asserting that he broke a gentlemen's agreement they had, and questioning the validity of the contract that Divac presented to the Serbian Business Registers Agency. The circumstances surrounding the deal (as of November 2007) are still unclear: Divac claims that he indeed loaned some money to Đorđević's Si&Si company, which was in financial trouble, and after Đorđević failed to fulfill his part of the deal, just used the contract, already properly signed by Đorđević, to claim ownership of the company. Humanitarian work Divac is a humanitarian worker, focusing on aid to children worldwide and refugees in his home country. Along with six Serbian basketball teammates, Divac established the charity called Group Seven, later renamed to "Divac's Children Foundation", and works closely with International Orthodox Christian Charities (IOCC), helping them to raise around US$500,000 for humanitarian assistance in Serbia since 1997. Divac's own foundation, presided by his wife Snežana, provided over $2,500,000 in humanitarian assistance through 1998–2007. In 2000, the NBA named Divac as the recipient of the J. Walter Kennedy Citizenship Award. The honor is presented annually to a player, coach or athletic trainer who shows outstanding service and dedication to the community. In late 2007, Divac founded a humanitarian organization, "You Can Too" (Serbian: Можеш и ти/Možeš i ti), with the goal of restoring abandoned homes in villages throughout Serbia and Africa, thereby providing shelter for homeless refugees. Around 7,800 of those people still live in collective centers under poor conditions, so the organization has employed itself to buy abandoned countryside houses, in an attempt to finally solve their accommodation problem. From September 21 to 23, 2007, Divac organized an official farewell from his active basketball career in his hometown Prijepolje and Belgrade, simultaneously promoting the "You Can Too" campaign. The spectacle culminated in a gathering of Divac and his worldwide friends in front of 10,000 people outside the National Assembly building. In popular culture In the early 1990s, the song "Vlade Divac" by Belgrade band Deca Loših Muzičara, devoted to his move to the Lakers, was a big hit; the band finally got to personally meet Divac and perform the song with him on his farewell party in 2007. During his time with the Lakers, Divac's popularity and marketing potential, in addition to his entertaining and good-natured personality, were picked up on by the American TV industry. As a result, he appeared quite a few times on Los Angeles-based late night programmes such as The Arsenio Hall Show and The Tonight Show with Jay Leno. In 1990, he was featured in a commercial with Laker teammates A. C. Green and Mychal Thompson for the Schick brand razor company. He also appeared in American sitcoms Married... with Children and Coach, as well as in the short lived Good Sports sitcom. On the big screen Divac took part in basketball-based movies Eddie, Space Jam and Juwanna Mann. Later in his career, he appeared on Larry King Live in 1999 and The Late Late Show in 2002. In Serbia, throughout his playing career, Divac regularly appeared in commercials pitching products ranging from Atlas Beer to Société Générale mortgage credit plans. He appeared in a national TV commercial in the United States alongside former NBA star Darryl Dawkins for Taco Bell. Divac appeared as a special guest on Eurovision 2008. He threw a ball into the audience, which marked the beginning of televoting. Divac features in the ESPN 30 for 30 documentary Once Brothers, where he discusses the exploits of the Yugoslavia national basketball team in the late 1980s and early 1990s and how the Yugoslav Wars tore them apart, especially in context of his broken friendship with Croatian player Dražen Petrović. Divac appears in Boris Malagurski's documentary film The Weight of Chains'', in which he talks about the 1999 NATO bombing of Yugoslavia. Personal life Divac and his wife, Snežana, have two sons, Luka and Matija, and an adopted daughter, Petra, whose biological parents were killed by Kosovo Liberation Army snipers. On January 7, 2014, Divac's father Milenko died after injuries sustained in a car accident. Filmography Film Selected television See also List of National Basketball Association career blocks leaders List of National Basketball Association players with 10 or more blocks in a game List of Serbian NBA players Notes References Further reading External links Euroleague.net 50 greatest contributors 1968 births Living people Basketball players at the 1988 Summer Olympics Basketball players at the 1996 Summer Olympics Centers (basketball) Charlotte Hornets players FIBA EuroBasket-winning players FIBA Hall of Fame inductees FIBA World Championship-winning players KK Crvena zvezda players KK Partizan players KK Sloga players Los Angeles Lakers draft picks Los Angeles Lakers players Los Angeles Lakers scouts Medalists at the 1988 Summer Olympics Medalists at the 1996 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association general managers National Basketball Association players from Serbia National Basketball Association players with retired numbers National Basketball Association scouts from Europe Olympic basketball players of Yugoslavia Olympic medalists in basketball Olympic silver medalists for Yugoslavia Olympic silver medalists for Serbia and Montenegro People from Prijepolje Recipients of the Olympic Order Recipients of the Order of St. Sava Sacramento Kings players Sacramento Kings executives Serbian basketball scouts Serbian businesspeople Serbian basketball executives and administrators Serbian expatriate basketball people in the United States Serbian men's basketball players Universiade gold medalists for Yugoslavia Universiade medalists in basketball Yugoslav expatriate sportspeople in the United States Yugoslav men's basketball players 1990 FIBA World Championship players 2002 FIBA World Championship players 1986 FIBA World Championship players Medalists at the 1987 Summer Universiade	false	[ "Oleksandr Hryhorovych Povoroznyuk (; born 6 March 1971) is a Ukrainian farmer. General Director of Ahrofirma Pyatykhatska LLC, President of football club Inhulets Petrove.\n\nBiography \nOleksandr Povorozniuk was born on 6 march 1971 in the village of Novomanuylivka, Kirovohrad Oblast. He become the chairman of Pyatihatska Agricultural Company operates on 12,000 hectares of land and makes a profit of 12-15 million hryvnias a year.He montioned tht he can spend 6-8 million a year on a team. He also become the hairman of the charity fund \"With people and for people\". Since 2017 he also become the Coach of Epicenter of the Kirovohrad Oblast and Member of the Village Revival Party.\n\nSports and patronage\n\nIn spring 2009 he become President of Desna Chernihiv football club of the city of Chernihiv, until 2010 and business partner with the businessman Valeriy Korotkov. Oleksandr Povorozniuk was ready to invest his own funds in the football club: However, the local authorities, despite promises to support the club and complete the Chernihiv Stadium, did nothing. In the summer of 2010, Povoroznyuk abandoned Desna Chernihiv due to the club's debts.\n\nIn 2013 he created Inhulets Petrove a football club from the town of Petrove in Kirovohrad Oblast.He managed to bring the club to win the Ukrainian Amateur Cup in 2014 and competed in the 2015 Amateur Championship and successfully bring the club to joined the PFL and entering into the Ukrainian Second League. Inhulets Petrove continued its participation among amateurs with its second team, FC Inhulets-2 Petrove. In their first season, the club were promoted to the Ukrainian First League. His club competed also at the 2015 UEFA Regions' Cup as \"AF Pyatykhatska\" representing Ukraine. In 2019, the club reached one of its greatest achievements, arriving at the final of Ukrainian Cup in the season 2018–19. The game ended with a 4-0 defeat by Shakhtar Donetsk. At the end of the 2019-20 season, Inhulets was promoted to the Ukrainian Premier League for the first time in their history.Povorozniuk signed good players to reinforce the team like Nika Sichinava, Illya Shevtsov and Pavlo Polehenko.\n\nReferences\n\nExternal links\n Official Site FC Inhulets Petrove\n\n1971 births\nLiving people\nPeople from Petrove Raion\nFC Desna Chernihiv presidents\nFC Inhulets Petrove presidents\nUkrainian football chairmen and investors\n20th-century Ukrainian businesspeople\n21st-century Ukrainian businesspeople", "Ivan Chaus Petrovich (; born 12 December 1951) is businessman and football president. In 1992 he become the president of Polesie\" Dobryanka and the president of Desna Chernihiv from 1999 until 2007.\n\nBiography\nHe born 14 April 1967 in the city of Chernihiv in Ukraine during the Soviet Union. He become a Businessman, special in the Chernihiv Oblast. He got graduate in The Taras Shevchenko National University in Chernihiv. He was one of the creator of historical and cultural center of Sofia Rusova and President of the Sofia Rusova Charitable Foundation. In 2020 he join the ranks of deputies of the Chernihiv Regional Council from the Servant of the People.\n\nSport\n\nIn 1992 he become the president of Polesie\" Dobryanka and on 9 february 2009, he become president of Desna Chernihiv until 2006, succeeding Volodymyr Khomenko. In 2006 he made the transfer of Andriy Yarmolenko from Yunist Chernihiv Youth. In 2013 Chaus said that Yarmolenko wanted to play for Dynamo, despite the offer from Shakhtar. In 2018 the Chernihiv sports school Yunost should receive 240-250 thousand euros from the London West Ham United within a year for Andriy Yarmolenko as part of a solidarity payment, according to FootBoom. “I don’t remember the exact amount, it is just over 240 thousand euros. Maybe 241 thousand, maybe 242. But definitely more than 240 thousand and less than 250 thousand euros, \"said the former president of Desna Chernihiv , Ivan Chaus, who is now the head of the board of trustees of the Chernihiv club. Recall that last summer, the 28-year-old midfielder of the Ukrainian national team moved to West Ham from Borussia Dortmund for 22 million pounds. This season, Yarmolenko took part in all the matches of the Hammers. He was invited to help the president of the club Valeriy Korotkov, and in 2009 was appointed as Vice-President in the presidency of Oleksandr Povorozniuk, but after his arrival he left the club. There were a lot of talk, rumors and gossip about this fact. Many fans still can't understand why one of Ukraine's most successful football managers left Desna. Ivan , in an interview, first reveal the secret of your resignation as vice-president of Desna Chernihiv . \"When I came to Desna Chernihiv for the second time in February this year, my main goal was to make Chernihiv football \"cleaner\", to free it from the dirt that has accumulated recently. By dirt, I mean both bribing judges and turning a team into a \"swap card\" in political games. My wish was sincere, because \"Desna\" is my home, I gave it almost 10 years of my life\". Ivan Chaus is currently Longest-serving President of the club in Chernihiv.\n\nPersonal life\nHis son Maksym Chaus is a player of FC Chernihiv, the second main club of the city of Chernihiv in Ukrainian Second League.\n\nReferences\n\nExternal links\n footballfacts.ru\n Facebook\n Vkontakte\n\n1967 births\nLiving people\nBusinesspeople from Chernihiv\nFC Desna Chernihiv presidents\nUkrainian football chairmen and investors\nServant of the People (political party) politicians\n20th-century Ukrainian businesspeople\n21st-century Ukrainian businesspeople" ]
[ "Vlade Divac", "KK Partizan", "what is the connection between divac and kk partizan", "Divac and former teammate Predrag Danilovic took over their former club KK Partizan.", "when did he start playing for kk partizan", "In late 2000,", "how long did he play for ir", "after a few years the duo ran out of patience and pulled out of the venture in late 2004", "did he get injured", "Divac became the club's president", "when did he become club president", "In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s," ]	C_ae1a7ce0b4144088b0f2ad1f39380eb4_0	did they win under him	6	did Slobodan Milosevic win under Vlade Divac	Vlade Divac	In late 2000, following the overthrow of Slobodan Milosevic whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilovic took over their former club KK Partizan. They did so on initiative by Ivica Dacic, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milosevic, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from regime change, Dacic saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilovic took the vice-president role. Freshly retired from playing, Danilovic was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000-01 season before they decided in summer 2001 to bring back their mentor Dusko Vujosevic to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports gets passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan wasn't and still isn't really clear, potential investors decided to stay away, at least until the law appears. Divac and Danilovic appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end-goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. CANNOTANSWER	CANNOTANSWER	Vlade Divac (, ; born February 3, 1968) is a Serbian professional basketball executive and former player who was most recently the vice president of basketball operations and general manager of the Sacramento Kings of the National Basketball Association (NBA). Divac spent most of his playing career in the NBA. At , he played center and was known for his passing skills. He was among the first group of European basketball players to transfer to the NBA in the late 1980s and was named one of the 50 Greatest EuroLeague Contributors. He is one of seven players in NBA history to record 13,000 points, 9,000 rebounds, 3,000 assists, and 1,500 blocked shots, along with Kareem Abdul-Jabbar, Tim Duncan, Shaquille O'Neal, Kevin Garnett, Pau Gasol, and Hakeem Olajuwon. Divac was also the first player born and trained outside the United States to play in over 1,000 games in the NBA. On August 20, 2010, he was inducted into the FIBA Hall of Fame in recognition of his play in international competition. He was elected to the Naismith Memorial Basketball Hall of Fame in 2019. Divac is a humanitarian, helping children in his native country of Serbia and in Africa. In October 2008, he was appointed as government adviser in Serbia for humanitarian issues. In February 2009, he was elected President of the Serbian Olympic Committee for a four-year term and re-elected in November 2012. In 2013, Divac received an honor from the World Sports Humanitarian Hall of Fame. Professional career Sloga (1983–1986) Divac began playing basketball in his home town Prijepolje for the team KK Elan. He began his professional career in Yugoslavia playing for Sloga from Kraljevo, and was immediately noted for scoring 27 points against Crvena zvezda. Partizan (1986–1989) In the summer of 1986, Divac was the top star of the basketball transfer season, and he ended up signing with KK Partizan for DM14,000. In the 1986-87 Yugoslav First League season, with players like Divac, Aleksandar Đorđević, Žarko Paspalj, Željko Obradović, and with coach Duško Vujošević at the helm, Partizan had a "dream team", which won the Yugoslavian League title. In the subsequent 1987-88 FIBA European Champions Cup season (now called EuroLeague), the club failed to reach the top of the EuroLeague, after having lost to Maccabi Tel Aviv in the semifinal in Ghent. Jugoplastika, with Dino Rađa and Toni Kukoč, was a stronger team in the subsequent three years, reigning both in Yugoslavia and in Europe. Divac had an unusual style compared to most other centers of his generation: despite his height, he possessed good mobility, had good control of the ball, and was a decent shooter. On occasion, he would also act as a play maker. His trademark moves included a mid-range shot at the top of the key and flip shots around the rim, while facing the complete opposite direction. His quirky moves complemented how he liked playing gags on the court: in the 1989 EuroBasket, he lifted teammate Zoran Radović for a slam dunk. In just four professional seasons in Europe, he became the most sought-after big man on the continent, after Arvydas Sabonis. Los Angeles Lakers (1989–1996) Drafted into the NBA in 1989 by the Los Angeles Lakers, Divac became one of the first European players to have an impact in the league. Under the mentorship of Kareem Abdul-Jabbar and Magic Johnson, he improved his play and adapted to the American style of basketball. Though he spoke no English, he quickly became popular among his teammates and the public for his charm and joviality. In the 1989–90 season, he was selected into the NBA All-Rookie Team. Divac earned a reputation for flopping, or deceiving the officials into calling a foul on the other team by purposely falling to the floor upon contact with an opposing player. Veteran NBA forward P.J. Brown claimed that Divac might have been the best of all time at flopping. Divac freely admitted doing so, adding that he usually did it when he felt like the officials had missed some calls and owed him. However, when the NBA instituted anti-flopping penalties in 2012, Divac expressed his support for such rules, stating that he felt players after him were "overdo[ing] it" with respect to flopping. Ian Thomsen, a Sports Illustrated columnist, grouped Divac with fellow international players Anderson Varejão and Manu Ginóbili as the players who "made [flopping] famous", exaggerating contact on the court in a manner analogous to diving in FIBA games. Charlotte Hornets (1996–1998) On July 1, 1996, Divac was traded to the Charlotte Hornets for the draft rights to Kobe Bryant and played two seasons there until signing with the Sacramento Kings in July 1998. Crvena zvezda (1999) During the 1998–99 NBA lockout, in January 1999, Divac played 2 games for Partizan's eternal rival KK Crvena zvezda, in the 1998–99 EuroLeague season. His debut for the crveno-beli took place mid-season, on Orthodox Christmas, versus a heavily favoured Žalgiris side led by Tyus Edney, Mindaugas Žukauskas, Saulius Štombergas, and Jiří Zídek Jr. Supported by a raucous home crowd and energized by Divac's arrival, as well as his 16 points and 8 rebounds, Crvena zvezda pulled off a 77–69 memorable upset win. Divac's brief stint with Crvena zvezda, for which he reportedly got paid US$250,000 per game, immediately became a sore point with KK Partizan fans, who unfurled a banner calling him a traitor, at their club's next game. The issue of playing for the hated cross-town rival reignited several years later, when Divac returned to KK Partizan as club president. At the time, he stated his decision to play for Crvena zvezda was "a mistake". Sacramento Kings (1999–2004) On January 22, 1999, Divac signed a six-year, $62.5 million contract as a free agent with the Sacramento Kings, where he played for six seasons alongside fellow countryman Peja Stojaković. Teamed with Stojaković, Hedo Türkoğlu, Chris Webber and Mike Bibby, Divac revitalized the Sacramento Kings franchise. The Kings rose in the NBA ranks, becoming a perennial playoff contender and eventually a championship contender, leading the league in wins in 2001-02. The Kings, however, could not get past the Los Angeles Lakers, who beat them controversially in a 7-game series in 2002, which has later been dubbed by some as the 'greatest tragedy in sports history'. Return to the Lakers (2004–2005) After the 2003–04 NBA season, Divac became a free agent. On July 20, 2004, he signed a two-year contract to return to the Lakers, part of Mitch Kupchak's plan to overhaul Laker basketball. The Lakers, following a defeat in the NBA Finals, had traded away or released most of their players, including Shaquille O'Neal, Gary Payton, Karl Malone, Derek Fisher, and more; Divac was supposed to help fill that void. However, Divac suffered back problems and could not play most of the season, and even when he returned, could only play about nine minutes per game, averaging 2.3 points per game and 2.1 rebounds per game in 15 games, he played 8 games early in the season and 7 more in the final month of the season. On July 14, 2005, 37-year-old Divac announced his retirement, ending his 16-year NBA and 22-year professional basketball career. Divac accepted a position with the Lakers as a European liaison to help with scouting overseas. The Kings retired Divac's No. 21 jersey in a ceremony on March 31, 2009. Over his 16 years in the NBA, Divac earned over $93 million in salary. In September 2009, he played for the "NBA Generations" team in the 2009 NBA Asia Challenge, a series of exhibitions against Korean Basketball League and Philippine Basketball Association players. National team career In summer 1986, at 18, right after signing for KK Partizan, Divac debuted for the senior Yugoslavia national basketball team at the 1986 FIBA World Championship in Madrid, on invitation by the head coach Krešimir Ćosić. However, the excellent rookie's performance was spoiled by the event in the semi-finals against the Soviet Union. Forty-five seconds before the end, Yugoslavia had a comfortable lead of 9 points, but the Soviets scored two three-pointers within a few seconds and cut the difference to 3 points. Yugoslavia tried to hold the ball for the remaining time, opting to continue the play with throw-ins instead of free throws following fouls, but with only 14 seconds left, Divac committed a double dribble, the Soviets were awarded the ball, and tied the score with another three-pointer. In the overtime, the Soviets won by 1 point and Yugoslavs had to be content with the bronze. The next year, Divac participated in the team that took the gold at the 1987 FIBA Junior World Championship (which was later split into separate under-19 and under-21 events) in Bormio, Italy. That event launched the young generation of Yugoslavian basketball players, also featuring stars like Rađa and Kukoč, regarded as likely the best in history. Before the breakup of Yugoslavia, they would also take the titles at EuroBasket 1989 and the 1990 FIBA World Championship in Argentina, where they were led by Dražen Petrović, as well as the EuroBasket 1991 title, with Aleksandar Đorđević at point guard. When Yugoslavia won the gold in the 1990 FIBA World Championship, fans rushed onto the court. One of them was holding a Croatian flag, one of the six republics that made up Yugoslavia. Divac claims that he told the man that he should not be waving that flag, since this was a win for Yugoslavia. Divac claims the man made a derogatory remark about the Yugoslav flag, at which point Divac took his flag from him. This happened during a very tense time where nationalistic pride was threatening to tear Yugoslavia apart and ignite a war. The taking of the flag made Divac a hero to Serbs, and a villain to Croatians. Divac has stated that he did not mean it as an act against Croatia and he would have taken away a Serbian flag if a Serb fan had done the same. This action, along with the Yugoslav Wars, alienated Divac from many of his former Croatian friends, particularly Dražen Petrović, whom he considered his best friend. When FR Yugoslavia won the gold medal at the EuroBasket 1995, and Croatia won bronze, Croatia, still at war with Serbs from Croatia, walked off the podium during the medal ceremony. The teams had not faced each other in the tournament. NBA career statistics Regular season \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 5 \|\| 19.6 \|\| .499 \|\| .000 \|\| .708 \|\| 6.2 \|\| 0.9 \|\| 1.0 \|\| 1.4 \|\| 8.5 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 81 \|\| 28.2 \|\| .565 \|\| .357 \|\| .703 \|\| 8.1 \|\| 1.1 \|\| 1.3 \|\| 1.5 \|\| 11.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 36 \|\| 18 \|\| 27.2 \|\| .495 \|\| .263 \|\| .768 \|\| 6.9 \|\| 1.7 \|\| 1.5 \|\| 1.0 \|\| 11.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 82 \|\| 69 \|\| 30.8 \|\| .485 \|\| .280 \|\| .689 \|\| 8.9 \|\| 2.8 \|\| 1.6 \|\| 1.7 \|\| 12.8 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 73 \|\| 34.0 \|\| .506 \|\| .191 \|\| .686 \|\| 10.8 \|\| 3.9 \|\| 1.2 \|\| 1.4 \|\| 14.2 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 80 \|\| 80 \|\| 35.1 \|\| .507 \|\| .185 \|\| .777 \|\| 10.4\|\| 4.1 \|\| 1.4 \|\| 2.2 \|\| 16.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 79 \|\| 79 \|\| 31.3 \|\| .513 \|\| .167 \|\| .641 \|\| 8.6 \|\| 3.3 \|\| 1.0 \|\| 1.7 \|\| 12.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 81 \|\| 80 \|\| 35.1 \|\| .494 \|\| .234 \|\| .683 \|\| 9.0 \|\| 3.7 \|\| 1.3 \|\| 2.2 \|\| 12.6 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Charlotte \| 64 \|\| 41 \|\| 28.2 \|\| .498 \|\| .214 \|\| .691 \|\| 8.1 \|\| 2.7 \|\| 1.3 \|\| 1.5 \|\| 10.4 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 50 \|\| 50 \|\| 35.2 \|\| .470 \|\| .256 \|\| .702 \|\| 10.0 \|\| 4.3 \|\| 0.9 \|\| 1.0 \|\| 14.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 82 \|\| 81 \|\| 29.0 \|\| .503 \|\| .269 \|\| .691 \|\| 8.0 \|\| 3.0 \|\| 1.3 \|\| 1.3 \|\| 12.3 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 29.9 \|\| .482 \|\| .286 \|\| .691 \|\| 8.3 \|\| 2.9 \|\| 1.1 \|\| 1.1 \|\| 12.0 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 30.3 \|\| .472 \|\| .231 \|\| .615 \|\| 8.4 \|\| 3.7 \|\| 1.0 \|\| 1.2 \|\| 11.1 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 80 \|\| 80 \|\| 29.8 \|\| .466 \|\| .240 \|\| .713 \|\| 7.2 \|\| 3.4 \|\| 1.0 \|\| 1.3 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| Sacramento \| 81 \|\| 81 \|\| 28.6 \|\| .470 \|\| .154 \|\| .654 \|\| 5.7 \|\| 5.3 \|\| 0.7 \|\| 0.1 \|\| 9.9 \|- \| style="text-align:left;"\| \| style="text-align:left;"\| LA Lakers \| 15 \|\| 0 \|\| 8.7 \|\| .419 \|\| .000 \|\| .667 \|\| 2.1 \|\| 1.3 \|\| 0.3 \|\| 0.1 \|\| 2.3 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 1134 \|\| 979 \|\| 29.8 \|\| .495 \|\| .235 \|\| .692 \|\| 8.2 \|\| 3.1 \|\| 1.1 \|\| 1.4 \|\| 11.8 \|- class="sortbottom" \| style="text-align:center;" colspan="2"\| All-Star \| 1 \|\| 0 \|\| 9.0 \|\| .667 \|\| .000 \|\| – \|\| 6.0 \|\| 1.0 \|\| 2.0 \|\| 0.0 \|\| 8.0 Playoffs \|- \| style="text-align:left;"\| 1990 \| style="text-align:left;"\| LA Lakers \| 9 \|\| 1 \|\| 19.4 \|\| .727 \|\| .500 \|\| .895 \|\| 5.3 \|\| 1.1 \|\| 0.9 \|\| 1.7 \|\| 9.1 \|- \| style="text-align:left;"\| 1991 \| style="text-align:left;"\| LA Lakers \| 19 \|\| 19 \|\| 32.1 \|\| .564 \|\| .167 \|\| .803 \|\| 6.7 \|\| 1.1 \|\| 1.4 \|\| 2.2 \|\| 13.3 \|- \| style="text-align:left;"\| 1992 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 35.8 \|\| .349 \|\| .000 \|\| .900 \|\| 5.5 \|\| 3.8 \|\| 1.3 \|\| 0.8 \|\| 9.8 \|- \| style="text-align:left;"\| 1993 \| style="text-align:left;"\| LA Lakers \| 5 \|\| 5 \|\| 33.4 \|\| .500 \|\| .444 \|\| .545 \|\| 9.4 \|\| 5.6 \|\| 1.2 \|\| 2.4 \|\| 18.0 \|- \| style="text-align:left;"\| 1995 \| style="text-align:left;"\| LA Lakers \| 10 \|\| 10 \|\| 38.8 \|\| .467 \|\| .222 \|\| .645 \|\| 8.5 \|\| 3.1 \|\| 0.8 \|\| 1.3 \|\| 15.6 \|- \| style="text-align:left;"\| 1996 \| style="text-align:left;"\| LA Lakers \| 4 \|\| 4 \|\| 28.8 \|\| .429 \|\| .200 \|\| .625 \|\| 7.5 \|\| 2.0 \|\| 0.0 \|\| 1.3 \|\| 9.0 \|- \| style="text-align:left;"\| 1997 \| style="text-align:left;"\| Charlotte \| 3 \|\| 3 \|\| 38.7 \|\| .457 \|\| .000 \|\| .800 \|\| 8.7 \|\| 3.3 \|\| 1.0 \|\| 2.0 \|\| 18.0 \|- \| style="text-align:left;"\| 1998 \| style="text-align:left;"\| Charlotte \| 9 \|\| 9 \|\| 38.5 \|\| .483 \|\| .000 \|\| .606 \|\| 10.9 \|\| 3.4 \|\| 0.8 \|\| 1.6 \|\| 11.6 \|- \| style="text-align:left;"\| 1999 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 39.6 \|\| .446 \|\| .200 \|\| .833 \|\| 10.0 \|\| 4.6 \|\| 1.6 \|\| 0.8 \|\| 16.2 \|- \| style="text-align:left;"\| 2000 \| style="text-align:left;"\| Sacramento \| 5 \|\| 5 \|\| 32.0 \|\| .357 \|\| .000 \|\| .696 \|\| 7.2 \|\| 2.8 \|\| 1.4 \|\| 0.8 \|\| 11.2 \|- \| style="text-align:left;"\| 2001 \| style="text-align:left;"\| Sacramento \| 8 \|\| 8 \|\| 28.1 \|\| .350 \|\| .333 \|\| .763 \|\| 8.4 \|\| 2.4 \|\| 1.0 \|\| 1.5 \|\| 10.8 \|- \| style="text-align:left;"\| 2002 \| style="text-align:left;"\| Sacramento \| 16 \|\| 16 \|\| 33.4 \|\| .464 \|\| .268 \|\| .755 \|\| 9.3 \|\| 1.7 \|\| 1.1 \|\| 1.3 \|\| 13.5 \|- \| style="text-align:left;"\| 2003 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 26.4 \|\| .560 \|\| .000 \|\| .673 \|\| 5.8 \|\| 2.3 \|\| 0.7 \|\| 0.9 \|\| 11.4 \|- \| style="text-align:left;"\| 2004 \| style="text-align:left;"\| Sacramento \| 12 \|\| 12 \|\| 19.6 \|\| .437 \|\| .000 \|\| .739 \|\| 4.9 \|\| 1.8 \|\| 0.3 \|\| 0.4 \|\| 6.6 \|-class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 121 \|\| 113 \|\| 30.8 \|\| .480 \|\| .241 \|\| .731 \|\| 7.5 \|\| 2.4 \|\| 1.0 \|\| 1.4 \|\| 12.1 Major career achievements KK Partizan Yugoslav League Champion: (1987) 1988 EuroLeague Final Four: 3rd Place Yugoslav Cup Winner: (1989) Korać Cup Winner: (1989) Yugoslavia national team Earned gold medal with Yugoslavia's under-18 nationals at the 1985 FIBA Europe Under-16 Championship in Rousse, Bulgaria Earned gold medal with Yugoslavia's under-21 nationals at the 1986 FIBA Europe Under-18 Championship in Gmunden, Austria Earned gold medal with Yugoslavia's under-21 nationals at the 1987 FIBA Under-19 World Cup in Bormio, Italy, defeating the U.S. team twice in that tournament Earned silver medals in 1988 Summer Olympic Games (for SFR Yugoslavia) and 1996 Summer Olympic Games (for FR Yugoslavia) Earned gold medals with SFRY at the 1990 FIBA World Championship (Argentina) and with FRY at the 2002 FIBA World Championship (U.S.) Earned gold medals at EuroBasket in Zagreb 1989, and Rome 1991 (with SFRY), and in Athens 1995 (with FRY) NBA Named to the 1989–90 NBA All-Rookie First Team after averaging 8.5 ppg and 6.2 rpg for the Lakers Appeared in the 1991 NBA Finals against the Chicago Bulls and averaged 12.1 ppg, 7.5 rpg and 2.4 apg in 121 career NBA Playoff games Ranks 4th in Lakers franchise history with 830 blocked shots Ranked 2nd on the Kings in scoring (14.3 ppg), rebounds (10.0 rpg, 10th in the NBA), assists (4.3 apg) and blocked shots (1.02 bpg) in 1998–99 Named NBA All-Star, 2001 One of only five basketball players born and trained in Europe to play at least 1,000 NBA games (1,134; along with Dirk Nowitzki, Tony Parker, Pau Gasol, Boris Diaw) One of only four basketball players born and trained in Europe (Peja Stojaković, Dražen Petrović and Zydrunas Ilgauskas are the others) to have his number retired by an NBA team Administrative career Through the twilight of his playing career and afterwards, Divac focused on three fields: humanitarian work, sport management, and investment. KK Partizan president In late 2000, following the overthrow of Slobodan Milošević whose policies Divac had been openly critical of throughout mid-to-late 1990s, Divac and former teammate Predrag Danilović took over their former club KK Partizan. They did so on initiative by Ivica Dačić, the club's outgoing president and, more importantly, a suddenly marginalized politician who, due to his association with Milošević, was forced to leave his post at the club. Seeing that various state-owned companies and community property were being taken over in a dubious manner during the power vacuum that resulted from régime change, Dačić saw it prudent to bring the club's two former greats as a safeguard against the same happening to KK Partizan. Divac became the club's president while Danilović took the vice-president role. Freshly retired from playing, Danilović was actually running the club's day-to-day operations since Divac was still very actively involved with the Sacramento Kings at the time. The head coach they inherited, Darko Russo, finished out the 2000–01 season before they decided in summer 2001 to bring back their mentor Duško Vujošević to be the new head coach. Though the duo never stated so outright, their additional motivation in getting involved with KK Partizan again was perceived to be gaining the upper hand on the club's eventual privatisation process once the new Law on Sports was passed in the Serbian parliament. Since the exact ownership structure of a publicly owned KK Partizan was not and still is not really clear, potential investors decided to stay away, at least until the law came into effect. Divac and Danilović appeared pretty much out of nowhere in this regard but enjoyed plenty of fan and public support because most preferred to see their beloved club owned and operated by its former stars rather than a faceless corporation or a group of politicians, managers or businessmen close to the ruling coalition. However, after a few years the duo ran out of patience and pulled out of the venture in late 2004 because it became too much of a financial burden with no end goal in sight. While he stopped performing any official functions at the club, Divac continued to be involved with it in a lesser capacity for a few years afterwards. LA Lakers scout In October 2005, right after ending his playing career with the Los Angeles Lakers, Divac got hired as the Lakers' European scout, reporting directly to the team's general manager Mitch Kupchak. He left the position in 2006. Real Madrid Baloncesto club management In June 2006, through his friendship with Predrag Mijatović, Divac linked up with Ramón Calderón as part of the lawyer's candidate bid for the presidency of Real Madrid. When Calderón closely won the club elections on July 2, 2006, Divac was announced as the head of operations at Real Madrid basketball club though the scope of his job description soon got reduced to consulting duties as president Calderón's adviser for basketball and club's international coordinator. However, Divac's role in the club's day-to-day operations turned out to be largely symbolic, and he even admitted as much in a March 2007 interview for Croatian weekly Globus: "I literally do nothing and I only serve as part of the royal club'''s image. I only accepted the job because of Mijatović, who is currently the football director at Real". By the end of 2007, following a financial settlement between the two parties, Divac moved on from the post for which he had been reportedly receiving an annual compensation of €300,000. Serbian Deputy Prime Minister's adviser In October 2008, Divac's political advisory engagement within the Serbian government as the sports, diaspora, and humanitarian advisor to the Deputy Prime Minister and Internal Affairs Minister Ivica Dačić, got announced. Olympic Committee of Serbia president Divac was proposed in 2000 as Yugoslavia's candidate for the Sport Commission of the International Olympic Committee in spring 2000. This candidature was withdrawn under pressure from Milošević regime. In February 2009, Divac ran for presidency of the Olympic Committee of Serbia against incumbent president Ivan Ćurković. He won the race after Ćurković withdrew just before the scheduled voting. In November 2012, he was re-elected as the sole candidate; the end of his second mandate coincides with the 2016 Summer Olympics in Rio de Janeiro. In December 2014, Kosovo was accepted as a full member of the International Olympic Committee. Divac and the Serbian Olympic Committee have been criticised, chiefly by the Democratic Party of Serbia, for failing to take any effort to prevent that. Divac stated that he is not happy with the decision of the IOC, but could not have prevented it as it had already been made, and said he would accept it "in the interest of the athletes". On May 9, 2017, he was succeeded by Serbian former basketball coach Božidar Maljković on position of the president of Olympic Committee of Serbia. Sacramento Kings front office Initial advisory role In early March 2015, Divac was hired by the Sacramento Kings as their vice president of basketball and franchise operations. Brought into the organization by the principal owner Vivek Ranadivé towards the end of a turbulent season, Divac's arrival came in the wake of head coach Mike Malone's firing and the eventual hiring of George Karl. Working alongside the team's general manager Pete D'Alessandro, Divac's initial duties with the Kings were reported to be advising the front office and coaches as well as assisting with branding and fan outreach. However, such broadly defined job responsibilities immediately led to press speculation about Divac's role within the organization that in addition to general manager D'Alessandro also featured assistant GM Mike Bratz, special assistant to the GM Mitch Richmond, director of player personnel and analytics Dean Oliver, adviser to the chairman Chris Mullin, as well as a head coach, Karl, who has always wanted to be involved in personnel issues. Within a month of Divac's hiring, ESPN's Marc Stein reported that "despite the Kings not yet announcing their new power structure, Divac is indeed already regarded as the team's top basketball official by owner Ranadivé". On June 10, 2015, two weeks before the NBA draft, general manager D'Alessandro left the Kings by accepting a front-office position with the Denver Nuggets amid reports he did so due to being stripped of his decision-making power after Ranadivé hired Divac. Only days before the draft, animosity between head coach Karl and the team's star center DeMarcus Cousins reignited, as Karl reportedly lobbied Divac, as well as multiple players on the Kings' roster, in order to make the case to owner Ranadive that Cousins needs to be traded. As a result, against the backdrop of Cousins calling Karl a "snake" on Twitter, Divac reportedly discussed multiple Cousins trade scenarios with various teams, but ultimately no deal got made. At the 2015 NBA draft, with the 6th pick, the Kings selected 21-year-old center Willie Cauley-Stein out of Kentucky. Less than a week following the draft, with the dissolution of the Karl—Cousins relationship on public display, the Kings' ultimately unsuccessful attempt at landing University of Kentucky head coach John Calipari to replace Karl was reported. In early July 2015, in an effort of clearing salary cap space in order to immediately go after free agents, the Kings agreed to a trade with the Philadelphia 76ers, sending Nik Stauskas, Carl Landry, and Jason Thompson, along with the Kings' future first round draft pick to the Sixers as well as the rights to swap first round picks in 2016 and 2017 while receiving the rights to Sixers overseas players Artūras Gudaitis and Luka Mitrović in return. Two days later, they announced the acquisitions of two free agents: 29-year-old Marco Belinelli on a three-year US$19 million contract and 29-year-old point guard Rajon Rondo for one year for US$10 million. This was followed by signing twenty-six-year-old center Kosta Koufos for four years and US$33 million with his role envisioned as the backup for Cousins. With the free agent signings done, Divac turned his attention to attempting to mend the relations between the team's head coach Karl and its star center Cousins ahead of the 2015-16 season, admitting publicly on July 9, 2015 on CBS Sports Radio's The Jim Rome Show that the relationship between the two "isn't pretty right now". A few days later, on July 13, 2015, during a 2015 NBA Summer League game in Las Vegas, the two shared an awkward on-camera handshake as Karl approached and Cousins reluctantly shook the coach's hand before turning away. Later that week, Divac summoned Cousins and Karl to a private counseling session. General manager Divac was promoted to the Kings' vice president of basketball operations and general manager on August 31, 2015. Amid a tense and incident-filled season that saw the team briefly reach the final playoff spot in the Western Conference before unravelling with extended losing streaks in late January and early February 2016, the organization reportedly made a decision to fire their head coach George Karl during the upcoming All-Star break, a move pushed for by Divac. However, in a quick about-face, Karl got retained after meeting with Divac and reportedly pledging to make changes to address concerns within the organization about his defensive schemes and practice policies. It was later reported that the move to fire Karl on this occasion got scuttled by the Kings minority owners over financial concerns. A month and a half later, in late March 2016, Divac signed a multi-year contract extension with the organization. The team finished the season 33–49, eight games out of the playoffs, good for 10th spot in the Western Conference. Their final season in Sleep Train Arena, the team's home since 1988, it was also their first 30 plus win campaign after seven consecutive seasons of fewer than 30 wins. Early into the team's offseason, in mid April 2016, the Kings organization fired head coach Karl, a decision made by Divac who had reportedly been pushing for it for months. Within three weeks, during which Divac interviewed head coaching candidates Sam Mitchell, Vinny Del Negro, Mike Woodson, David Blatt, Mark Jackson, Jeff Hornacek, Nate McMillan, Patrick Ewing, Elston Turner, and Corliss Williamson, the Kings hired Dave Joerger as their new head coach, signing him to a four-year deal worth US$16 million. At the 2016 NBA draft, with the 8th pick, the Kings selected Marquese Chriss out of the University of Washington, but traded him to the Phoenix Suns for rights to Bogdan Bogdanović as well as the Suns' 2016 draft 13th and 28th picks, Georgios Papagiannis and Skal Labissière, respectively. At the 2017 NBA draft, with the 5th pick, the Kings selected point guard De'Aaron Fox out of Kentucky. At the 2018 NBA draft, the Kings selected Marvin Bagley III with the second overall pick, passing on Luka Dončić who would become a MVP candidate within two years into his NBA career. In 2018–19 season the Sacramento Kings finished 9th in the Western conference. However, the season was evaluated as successful for the Kings. The 2019–20 NBA season was suspended in March as a result of the COVID-19 pandemic, and the Sacramento Kings were invited to the 22-team 2020 NBA Bubble. However, the Kings did not manage to qualify for the playoffs, their 14th consecutive season without a playoff appearance, and finished the season with a 31–41 record. Shortly thereafter, on August 14, 2020, Divac stepped down as general manager. Investments Divac has been involved in many non-basketball endeavors while still actively playing in the NBA, and more so after he retired. He is an active restaurant investor in the Sacramento, California area. However, his attempts to make major investments in Serbia failed, for a variety of reasons. The most notable affair was a highly publicized business venture—takeover bid of profitable beverage producer Knjaz Miloš. Divac's company "Apurna", in a joint venture with French dairy giant Danone, ostensibly proposed the best bid, but the takeover was aborted by the Serbia's Securities Commission, because Danone/Apurna allegedly offered extra money to small shareholders. In the repeated bid, Divac and Danone eventually withdrew and the sale went to FPP Balkan Ltd., a privatization fund from the Cayman Islands. The entire messy affair caused great friction within the Serbian government, wide speculation about corruption, resignation of the Securities Commission chief, and even a police investigation. Another similar, though less spectacular, episode happened with 2005 Divac's attempt to take over the Večernje novosti, a Serbian high-circulation daily. He made an agreement with small shareholders to take over the company by means of registering a new company with joint capital, which would increase the share capital. However, the Serbian Government intervened and halted what should have been a mere technical move. While the attempted takeover was a "backdoor" one indeed, it was legal and similar cases had already occurred. The government ostensibly feared lack of control over the influential daily. Even though the Supreme Court of Serbia eventually ruled in Divac's favor, he withdrew from the contest, citing "friendly advice" by unnamed persons. Embittered, he decided to stop his attempts to invest in Serbia: "All of this is ugly and I'm very upset... I realized that there's no place for me in Serbia and my friends can meet me in Madrid from now on... In Serbia, some different rules are in effect, and I can't conceive them". However, that turned out not to be true, as in October 2007 Divac got legally registered as the 100% owner of Voda Voda, a bottled water brand previously owned by businessman Vojin Đorđević. That transaction was also followed by a stir of controversy, as Đorđević publicly accused Divac of deceit, asserting that he broke a gentlemen's agreement they had, and questioning the validity of the contract that Divac presented to the Serbian Business Registers Agency. The circumstances surrounding the deal (as of November 2007) are still unclear: Divac claims that he indeed loaned some money to Đorđević's Si&Si company, which was in financial trouble, and after Đorđević failed to fulfill his part of the deal, just used the contract, already properly signed by Đorđević, to claim ownership of the company. Humanitarian work Divac is a humanitarian worker, focusing on aid to children worldwide and refugees in his home country. Along with six Serbian basketball teammates, Divac established the charity called Group Seven, later renamed to "Divac's Children Foundation", and works closely with International Orthodox Christian Charities (IOCC), helping them to raise around US$500,000 for humanitarian assistance in Serbia since 1997. Divac's own foundation, presided by his wife Snežana, provided over $2,500,000 in humanitarian assistance through 1998–2007. In 2000, the NBA named Divac as the recipient of the J. Walter Kennedy Citizenship Award. The honor is presented annually to a player, coach or athletic trainer who shows outstanding service and dedication to the community. In late 2007, Divac founded a humanitarian organization, "You Can Too" (Serbian: Можеш и ти/Možeš i ti), with the goal of restoring abandoned homes in villages throughout Serbia and Africa, thereby providing shelter for homeless refugees. Around 7,800 of those people still live in collective centers under poor conditions, so the organization has employed itself to buy abandoned countryside houses, in an attempt to finally solve their accommodation problem. From September 21 to 23, 2007, Divac organized an official farewell from his active basketball career in his hometown Prijepolje and Belgrade, simultaneously promoting the "You Can Too" campaign. The spectacle culminated in a gathering of Divac and his worldwide friends in front of 10,000 people outside the National Assembly building. In popular culture In the early 1990s, the song "Vlade Divac" by Belgrade band Deca Loših Muzičara, devoted to his move to the Lakers, was a big hit; the band finally got to personally meet Divac and perform the song with him on his farewell party in 2007. During his time with the Lakers, Divac's popularity and marketing potential, in addition to his entertaining and good-natured personality, were picked up on by the American TV industry. As a result, he appeared quite a few times on Los Angeles-based late night programmes such as The Arsenio Hall Show and The Tonight Show with Jay Leno. In 1990, he was featured in a commercial with Laker teammates A. C. Green and Mychal Thompson for the Schick brand razor company. He also appeared in American sitcoms Married... with Children and Coach, as well as in the short lived Good Sports sitcom. On the big screen Divac took part in basketball-based movies Eddie, Space Jam and Juwanna Mann. Later in his career, he appeared on Larry King Live in 1999 and The Late Late Show in 2002. In Serbia, throughout his playing career, Divac regularly appeared in commercials pitching products ranging from Atlas Beer to Société Générale mortgage credit plans. He appeared in a national TV commercial in the United States alongside former NBA star Darryl Dawkins for Taco Bell. Divac appeared as a special guest on Eurovision 2008. He threw a ball into the audience, which marked the beginning of televoting. Divac features in the ESPN 30 for 30 documentary Once Brothers, where he discusses the exploits of the Yugoslavia national basketball team in the late 1980s and early 1990s and how the Yugoslav Wars tore them apart, especially in context of his broken friendship with Croatian player Dražen Petrović. Divac appears in Boris Malagurski's documentary film The Weight of Chains'', in which he talks about the 1999 NATO bombing of Yugoslavia. Personal life Divac and his wife, Snežana, have two sons, Luka and Matija, and an adopted daughter, Petra, whose biological parents were killed by Kosovo Liberation Army snipers. On January 7, 2014, Divac's father Milenko died after injuries sustained in a car accident. Filmography Film Selected television See also List of National Basketball Association career blocks leaders List of National Basketball Association players with 10 or more blocks in a game List of Serbian NBA players Notes References Further reading External links Euroleague.net 50 greatest contributors 1968 births Living people Basketball players at the 1988 Summer Olympics Basketball players at the 1996 Summer Olympics Centers (basketball) Charlotte Hornets players FIBA EuroBasket-winning players FIBA Hall of Fame inductees FIBA World Championship-winning players KK Crvena zvezda players KK Partizan players KK Sloga players Los Angeles Lakers draft picks Los Angeles Lakers players Los Angeles Lakers scouts Medalists at the 1988 Summer Olympics Medalists at the 1996 Summer Olympics Naismith Memorial Basketball Hall of Fame inductees National Basketball Association All-Stars National Basketball Association general managers National Basketball Association players from Serbia National Basketball Association players with retired numbers National Basketball Association scouts from Europe Olympic basketball players of Yugoslavia Olympic medalists in basketball Olympic silver medalists for Yugoslavia Olympic silver medalists for Serbia and Montenegro People from Prijepolje Recipients of the Olympic Order Recipients of the Order of St. Sava Sacramento Kings players Sacramento Kings executives Serbian basketball scouts Serbian businesspeople Serbian basketball executives and administrators Serbian expatriate basketball people in the United States Serbian men's basketball players Universiade gold medalists for Yugoslavia Universiade medalists in basketball Yugoslav expatriate sportspeople in the United States Yugoslav men's basketball players 1990 FIBA World Championship players 2002 FIBA World Championship players 1986 FIBA World Championship players Medalists at the 1987 Summer Universiade	false	[ "The 1972 UEFA European Under-23 Championship, which spanned two years (1970–72) had 23 entrants. Czechoslovakia U-23s won the competition.\n\nThe 23 national teams were divided into eight groups. The group winners played off against each other on a two-legged home-and-away basis until the winner was decided. There was no finals tournament or 3rd-place playoff.\n\nQualifying Stage\n\nDraw\nThe allocation of teams into qualifying groups was based on that of UEFA Euro 1972 qualifying tournament with several changes, reflecting the absence of some nations:\n Group 2 and 8 had the same competing nations\n Group 1 did not include Wales\n Group 3 did not include England and Malta\n Group 4 did not include Northern Ireland and Cyprus\n Group 5 did not include Belgium and Scotland\n Group 6 did not include Republic of Ireland\n Group 7 did not include Luxembourg\n\nGroup 1\n\nGroup 2\n\nGroup 3\n\nGroup 4\n\nGroup 5\n\nGroup 6\n\nGroup 7\n\nGroup 8\n\nKnockout Stages\n{\|width=100%\n\|valign=\"center\"\|\nQuarter Finals\n Bulgaria 2–2 Netherlands\n Netherlands 0–0 Bulgaria\n Bulgaria 2–0 Netherlands\n2–2: win playoff match\n\n Denmark 2–0 Greece\n Greece 5–0 Denmark\n win 5–2 on aggregate\n\n Soviet Union 3–1 West Germany\n West Germany 0–0 Soviet Union\n win 3–1 on aggregate\n\n Sweden 1–0 Czechoslovakia\n Czechoslovakia 3–1 Sweden\n win 3–2 on aggregate\|width=\"5%\"\| \n\|valign=\"center\"\|\nSemi Finals\n Czechoslovakia 2–0 Greece\n Greece 2–1 Czechoslovakia win 3–2 on aggregate Soviet Union 4–0 Bulgaria\n Bulgaria 3–3 Soviet Union win 7–3 on aggregate\|width=\"5%\"\| \n\|valign=\"center\"\|\nFinal\n Soviet Union 2–2 Czechoslovakia\n Czechoslovakia 3–1 Soviet Union win 5–3 on aggregate finish as Champions\n\|}\n\nSee also\n UEFA European Under-21 Championship\n\nExternal links\n RSSSF Results Archive at rsssf.com\n\nUEFA European Under-21 Championship\n1970–71 in European football\n1971–72 in European football\n1972 in youth association football", "Vincent Knightley is a former Gaelic footballer from Annascaul, County Kerry, Ireland. He played with Kerry during the late 80's and 90's.\n\nClub\n\nHe played his club football with Annascaul with whom he won County Intermediate Championships in 1987 and 1992 and helped the club to the Kerry Senior Football Championship final in 1993 when Annascaul lost out to Laune Rangers, he did however win a County Under 21 Championship in 1989 and Senior Championship in 1990 with West Kerry\n\nMinor\n\nHe joined the Kerry minor team in 1988. Wins over Waterford, Limerick and Cork seen him win a Munster title. Kerry later faced Dublin in the All-Ireland final, a 2-05 to 0-05 win seen Knightly win an All-Ireland medal.\n\nUnder 21\n\nHe later joined the Under 21 team where he had more success. He first joined the team in 1990 as the side's captain, where he played in all of Kerry's games as a win over Cork in the Munster final. In the final Knightly and co faced Ulster champions Tyrone. Goals proved to be the difference as The Kingdom hit the Ulster men for 5, in a 5-12 to 2-11 win. It gave Knightly an All-Ireland Under 21 title as well as being the team's captain.\n\nHe was underage again in 1991 and had more success. A win over Cork seen Knightly pick up a second Munster Under-21 Football Championship. A win over Meath in the All-Ireland semi-final seen Knightly and co back in the All-Ireland final. It was a repeat of the 1990 final as Kerry faced Tyrone. While goals won it for Kerry the year before it was the other way around this time as Tyrone hit Kerry for 4 in a 4-16 to 1-05 loss for Knightly side.\n\nJunior\n\nHe joined the county Junior side in 1990 lining out in the Munster Junior Football Championship semi-final win over Waterford, but played no part in the final.\n\nHe was again part of the side in 1991 where he was made captain of the team. He led his side to a Munster Junior Football Championship final win over Waterford on a 1-12 to 3-04 scoreline. Kerry later qualified for the All-Ireland Junior Football Championship final where they faced London. Knightley scored a point in the game as his side won out on a 2-14 to 0-05 win. Knightly was an All-Ireland winning captain for the second year in a row after the win.\n\nSenior\n\nDespite his success at minor, Under 21 and Junior level he only had a limited senior career. Playing three games during the 1990–91 National Football League against Roscommon, Donegal and Cork.\n\nReferences\n\nYear of birth missing (living people)\nLiving people\nAnnascaul Gaelic footballers\nKerry inter-county Gaelic footballers" ]
[ "Jack Johnson (musician)", "Charity" ]	C_391fe88f5f84425497f5f067ae578f28_0	How is Jack Johnson involved in Charity ?	1	How is Jack Johnson involved in Charity ?	Jack Johnson (musician)	In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tohoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: CANNOTANSWER	Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental,	Jack Hody Johnson (born May 18, 1975) is an American singer-songwriter, multi-instrumentalist, actor, record producer, documentary filmmaker, and former professional surfer. Johnson is known primarily for his work in the soft rock and acoustic pop genres. In 2001, he achieved commercial success after the release of his debut album, Brushfire Fairytales. Johnson has reached number one on the Billboard 200 chart with his albums Sing-A-Longs and Lullabies for the Film Curious George in 2006, Sleep Through the Static in 2008, To the Sea in 2010 and From Here to Now to You in 2013. His album In Between Dreams peaked at number two on the chart in 2005 and again in 2013. Johnson is active in environmentalism and sustainability, often with a focus on the world's oceans. Johnson and his wife Kim created the Johnson Ohana Charitable Foundation and the Kōkua Hawaii Foundation. In 2008, Johnson adopted the concept of greening (reduce and reuse), and donated 100% of the proceeds of the Sleep Through the Static tour to the Johnson Ohana Charitable Foundation. Similarly, the proceeds from the 2010 To the Sea album tour went to All at Once, a Johnson-backed collaboration of greening charities promoting fan involvement. Early life The son of well-known surfer Jeffery Johnson, Jack was born and raised on the North Shore of Oahu, Hawaii. He began to learn how to surf at the age of 5. At 17, he became the youngest invitee to make the finals of the Pipeline Masters, one of surfing's most prestigious events, on Oahu's North Shore. One week later, however, his stint as a professional surfer ended when he suffered a surfing accident at the Pipeline that put more than 100 stitches in his forehead and removed a few of his teeth; this later became the inspiration for the song "Drink the Water". He appeared as a surfer in The Endless Summer II in 1994. Jack Johnson graduated from Kahuku High School in Oahu. He would later attend the University of California, Santa Barbara, and graduated in 1997 with a B.A. in film studies. While Johnson learned the guitar at the age of 8 and started songwriting at the age of 12, his passion for music grew when he played rhythm guitar for the band Soil (not to be confused with the heavy metal band of the same name) in college. In 1994, Zach Gill's band, Django Reinhardt, released a CD that quickly made Django a favorite band of the Isla Vista party scene at UCSB. Django was the rival of Jack Johnson's band Soil, but Gill and Johnson developed a strong friendship, eventually becoming bandmates in later years. While with Soil at UCSB, Johnson opened for then relatively unknown acts such as Sublime and Dave Matthews with far-from-sold-out crowds at the venues. Johnson credits his songwriting influences as Bob Dylan, Jimi Hendrix, Radiohead, Otis Redding, G. Love and Special Sauce, Ben Harper, Sublime, The Beatles, Bob Marley, Neil Young, and A Tribe Called Quest. Johnson names Jimi Hendrix as his all-time favorite guitarist. Career 2000–03: Brushfire Fairytales and On and On Jack Johnson's big break was writing and contributing vocals for the song "Rodeo Clowns" which was featured on G. Love's 1999 album Philadelphonic. The song would later become the most famous single on the album. Johnson was introduced to G. Love by a mutual friend of Johnson who was shooting surf films with him at the time. After hearing "Rodeo Clowns", G. Love saw Johnson's potential and effortless style and invited him to record with him. That led to the now-famous "Rodeo Clowns" recording, launching Johnson's career. In addition to his later success as a musician, Johnson is also an accomplished filmmaker. Johnson directed the surf films Thicker Than Water (2000) and The September Sessions (2002), in which he also starred. Both movie soundtracks were also products of Johnson. Johnson also starred in the 2004 surf film A Brokedown Melody. Suela released a four track demo that caught the attention of Ben Harper's producer, J. P. Plunier, who worked with Johnson to produce his debut album Brushfire Fairytales during December 2000 with Harper and his Weissenborn lap steel guitar making a guest appearance. Brushfire Fairytales was released on February 1, 2001, and led to Johnson becoming the opening act in late February 2001 for the last twenty-three cities of Ben Harper's "Innocent Criminals" tour of the United States. Johnson went back into the studio with Adam Topol (drums, percussion) and Merlo Podlewski (bass), who played on Brushfire Fairytales, and Mario Caldato Jr on production duties, to record his second full-length album On and On. It was the first album to be recorded at Johnson's Mango Tree Studio in Johnson's home town of North Shore, Oahu, and the first to be released through The Moonshine Conspiracy Records. On and On was released on May 6, 2003. The Moonshine Conspiracy Records was later changed to Brushfire Records; Johnson turned the offices and studios of his Los-Angeles based record company into a model of eco-friendliness, with solar power, recyclable CD packaging, and power-saving air conditioners. 2004–09: In Between Dreams, Curious George, and Sleep Through the Static On April 3, 2004, Johnson and Ben Harper performed with Toots and the Maytals on Saturday Night Live (season 29, episode 16). In October 2004, Johnson returned to the Mango Tree Studio with Topol and Podlewski along with Zach Gill (of Animal Liberation Orchestra) playing accordion, melodica and piano, to record his follow-up to 2003's On and On. In Between Dreams was released on March 1, 2005. Sing-A-Longs and Lullabies for the Film Curious George is a soundtrack album by Johnson, released on February 7, 2006. The album also features Ben Harper, G. Love, Merlo Podlewski and Zach Gill. It was the first soundtrack to make it to number 1 since the Bad Boys II soundtrack in August 2003, and was the first soundtrack for an animated film to top the Billboard 200 since the Pocahontas soundtrack in July 1995. Johnson enlisted J.P. Plunier to produce his fourth full-length studio album, Sleep Through the Static. It was recorded using 100% solar energy at the Solar-Powered Plastic Plant studio in Los Angeles. The album featured Gill (keys), Podlewski (bass) and Topol (drums, percussion). Sleep Through the Static was released on February 1, 2008, and was followed by a world tour. A live album and DVD of Johnson's 2008 world tour, entitled En Concert, was released on October 27, 2009. The DVD was directed by Emmett Malloy. Johnson spearheaded the Kōkua Festivals (2004–2008 and 2010). Often occurring around Earth Day, these six years of festivals provided support for the Kōkua Hawai'i Foundation, which is a charitable organization that supports environmental education in the schools and communities of Hawaii. Kōkua Festival 2004/2005 was a DVD released by Jack Johnson Music that showcased the early Kōkua Festivals. He also participated, with Willie Nelson, Jackson Browne, Dave Matthews, Eddie Vedder and others, in the documentary Kōkua 2008: 5 Years of Change (2009), produced by Brushfire and Three Foot Giant Productions and shown on Sundance Channel. On April 17, 2012, preceding his 2012 Hawaiian Islands tour, he released the live Kōkua Festival compilation Best of Kōkua Festival. Johnson produced Animal Liberation Orchestra's fifth studio album, Man of the World, which was released February 9, 2010. The album also features vocals from Johnson. 2010: To the Sea On February 1, 2010, Johnson's official website announced that his fifth studio album, To the Sea, was in the recording process at the Mango Tree Studio, with a planned worldwide release during the first week of June 2010. The website also announced an accompanying European, Australian and New Zealand tour to coincide with the album's release on midnight 31 May. The first single from To the Sea was "You and Your Heart", released on April 6, 2010. While speaking with New Zealand radio station ZM, Johnson said he is constantly aiming to build relationships with local pro-environment, non-profit groups. "We try to raise money for a lot of these groups who are doing positive things in the community. We try to focus mostly on environmental education, just trying to get kids out into nature, supporting local farms and things like that." Johnson embarked on a world tour in 2010 with Paula Fuga, a Hawaiian vocalist and ukulele player, performing at a range of venues across the world including Europe, New Zealand, Australia, Canada, U.S., and Japan. 2012: Hawaiian Islands tour On February 22, 2012, Jack with John Cruz and Paula Fuga announced a 7-show acoustic tour of the Hawaiian Islands during April. At the Stan Sheriff Center on April 14, 2012, during the Pillars of Peace Hawai'i: Building Peace on a Foundation of Aloha, Johnson performed introductory music before Nobel Peace Laureate Tenzin Gyatso, the 14th Dalai Lama of Tibet, gave the speech "Educating the Heart". Better Together was one of several songs Jack performed. 2013–2018: Bonnaroo, From Here to Now to You, and All the Light Above It Too Johnson released From Here to Now to You with his band on September 17, 2013. On June 15, 2013, Jack and the Band performed as headliners at the 2013 Bonnaroo in Tennessee. He also played two acoustic concerts, one at London's Tabernacle in Notting Hill and the other at New York City's Allen Room at Lincoln Center overlooking Central Park, featuring songs from his upcoming album. The From Here to Now to You Tour ran from March through September 2014. In February 2017, Johnson announced a U.S. tour beginning in Chicago at the Huntington Bank Pavilion on Northerly Island on June 1 and ending with two Kōkua Hawai‘i Foundation benefit concerts at the Waikiki Shell on August 4 & 5. Also, he revealed plans to release an album in the summer 2017. Later, he added a September 10 concert for the 2017 Ohana Fest at Doheny State Beach, Dana Point, California. On September 8, 2017, Jack released his seventh studio album All the Light Above It Too, and peaked at number 13 on the Billboard chart's "Artist 100." In July 2018, Johnson released his greatest hits album "Jack Johnson: The Essentials" in Japan. 2019–present: This Warm December and Global Citizen In late 2019 Johnson released a single "New Axe" which was featured on the This Warm December Vol. 3 album. He then did a "Together at Home" Instagram Live stream concert on March 28, 2020. His concert was the third most watched on the Global Citizen YouTube. He then also performed at the "One World: Together at Home" special, and a live version of "Better Together" was featured on the One World: Together at Home album. On May 1, 2020 he was featured on Milky Chance's new single "Don't Let Me Down". On September 26, 2020 Johnson performed the opening set at Farm Aid: On the Road. On December 4, 2020, Johnson released a new single titled "The Captain Is Drunk". On April 16, 2021, Johnson released a song titled "If Ever" with Paula Fuga and Ben Harper. The song appeared on Fuga's new album Rain on Sunday, which will be featured on Johnson's record label. In December 2021, Johnson announced his new Summer Tour 2022, which will consist of 30 dates. Personal life On July 22, 2000, Johnson married his college girlfriend, Kim Baker. They have three children: two boys and a girl. Johnson lives on the North Shore of the island of Oahu in Hawaii. In an interview with Johnson, Ann Donahue from Billboard described Johnson's family life by saying "There is often trouble in balancing the life of an artist, environmentalist, and family man, but Johnson seems to have the niche for such a challenge. This time around, he's found a pace that agrees with him...bringing his family along so he can spend mornings with them sightseeing." Both Johnson and his wife decline to talk about or release any intimate information concerning their children. Charity In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tōhoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: Vocal and music style Johnson combines poppy baritone vocals with laid-back acoustic instrumentation. His music has been variously described as folk rock, soft rock, acoustic rock, surf rock, trop rock, reggae, folk-pop, Jawaiian, acoustic pop, easy listening and blue-eyed soul. Discography Brushfire Fairytales (2001) On and On (2003) In Between Dreams (2005) Sing-A-Longs and Lullabies for the Film Curious George (2006) Sleep Through the Static (2008) To the Sea (2010) From Here to Now to You (2013) All the Light Above It Too (2017) Filmography List of awards and nominations received See also List of singer-songwriters References External links An Interview with G Love by The Mary Jane Experience 1975 births Living people 20th-century American singers 21st-century American singers American acoustic guitarists American male guitarists American film score composers American folk guitarists American folk singers American male singer-songwriters American philanthropists Record producers from Hawaii American rock guitarists American rock singers American rock songwriters American surfers Brit Award winners Brushfire Records artists American documentary film directors University of California, Santa Barbara alumni 20th-century American guitarists 21st-century American guitarists Guitarists from Hawaii American male film score composers 20th-century American male singers 21st-century American male singers Third Man Records artists Universal Records artists Singer-songwriters from Hawaii	true	[ "\"Breakdown\" is a song written by Jack Johnson, Dan Nakamura & Paul Huston and sung by Jack Johnson. It is the eleventh track on his third album In Between Dreams which was released in February 2005. It was released as a single in September 2005. The video features Jack Johnson surfing in Pichilemu, Chile. The single peaked at #73 in the United Kingdom.\n\nThe song was originally featured on the A Brokedown Melody soundtrack. Johnson confessed it was written in a train between Paris and Hossegor, a famous surf spot in France.\n\nA remix of the song was produced by the hip-hop duo Handsome Boy Modeling School (Nakamura & Huston). It is a more upbeat version of the original song, and was featured on their 2004 album, White People.\n\nCharts\n\nOther appearances\nThe Acoustic Album (2006, Virgin)\n\nReferences\n\n2005 singles\nJack Johnson (musician) songs\nSongs written by Jack Johnson (musician)\nRock ballads\n2005 songs\nSongs written by Prince Paul (producer)\nSong recordings produced by Mario Caldato Jr.", "Dilyn is a dog which lives with UK Prime Minister Boris Johnson and his wife Carrie at 10 Downing Street. He is a white, male Jack Russell cross and was born in 2018.\n\nThe dog was rescued as a puppy from a breeder in South Wales by Friends of Animals Wales because he had a misaligned jaw and was going to be put down. The charity gave initial care to the puppy and named it \"Dilyn\", the Welsh word for \"follow\", in memory of a spaniel which had recently died. The puppy was then fostered in Merthyr Tydfil for a few weeks before being adopted by Johnson and Symonds in 2019. The couple were introduced to the charity by Marc Abraham, the vet who successfully campaigned for \"Lucy's Law\", regulations prohibiting third-party commercial sale of puppies. After the dog became famous, he was featured on the 2019 Christmas cards for the charity.\n\nHe now resides in the Prime Minister's flat in the complex of 10–12 Downing Street. Boris Johnson takes him for a walk early each morning in the garden of number 10. The neighbouring former chancellor, Sajid Javid, watched out for Dilyn as he displayed \"amorous intentions\" towards his own cavapoo, Bailey. \n\nOn voting day for the 2019 United Kingdom general election, Boris Johnson took Dilyn to his polling station and so he became one of the many dogs at polling stations. After Johnson's victory, many newspapers around the world pictured him with Dilyn. These included Brazil's Correio Braziliense, Germany's Bild, Italy's la Repubblica, and the US New York Post, which had the headline \"Conservatives Lick Labour\" over a picture of Dilyn showing his tongue.\n\nBehavioural issues and controversy \nThere have been multiple accusations in the British press surrounding Dilyn's behaviour during his tenure at Number 10. These include misuse of public funds, engagement in a turf war with factional civil service teams and the destruction of priceless historical artifacts. Boris Johnson has admitted bad behaviour on behalf of the dog, claiming \"my dog is endless... on people's legs\".\n\nSee also \nLarry, Chief Mouser to the Cabinet Office \nList of individual dogs\n\nReferences \n\n2018 animal births\nBoris Johnson\nDogs in the United Kingdom\nIndividual dogs in politics\nIndividual animals in the United Kingdom" ]
[ "Jack Johnson (musician)", "Charity", "How is Jack Johnson involved in Charity ?", "Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental," ]	C_391fe88f5f84425497f5f067ae578f28_0	Did he donate any money to charity ?	2	Did Jack Johnson donate any money to charity ?	Jack Johnson (musician)	In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tohoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: CANNOTANSWER	2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate:	Jack Hody Johnson (born May 18, 1975) is an American singer-songwriter, multi-instrumentalist, actor, record producer, documentary filmmaker, and former professional surfer. Johnson is known primarily for his work in the soft rock and acoustic pop genres. In 2001, he achieved commercial success after the release of his debut album, Brushfire Fairytales. Johnson has reached number one on the Billboard 200 chart with his albums Sing-A-Longs and Lullabies for the Film Curious George in 2006, Sleep Through the Static in 2008, To the Sea in 2010 and From Here to Now to You in 2013. His album In Between Dreams peaked at number two on the chart in 2005 and again in 2013. Johnson is active in environmentalism and sustainability, often with a focus on the world's oceans. Johnson and his wife Kim created the Johnson Ohana Charitable Foundation and the Kōkua Hawaii Foundation. In 2008, Johnson adopted the concept of greening (reduce and reuse), and donated 100% of the proceeds of the Sleep Through the Static tour to the Johnson Ohana Charitable Foundation. Similarly, the proceeds from the 2010 To the Sea album tour went to All at Once, a Johnson-backed collaboration of greening charities promoting fan involvement. Early life The son of well-known surfer Jeffery Johnson, Jack was born and raised on the North Shore of Oahu, Hawaii. He began to learn how to surf at the age of 5. At 17, he became the youngest invitee to make the finals of the Pipeline Masters, one of surfing's most prestigious events, on Oahu's North Shore. One week later, however, his stint as a professional surfer ended when he suffered a surfing accident at the Pipeline that put more than 100 stitches in his forehead and removed a few of his teeth; this later became the inspiration for the song "Drink the Water". He appeared as a surfer in The Endless Summer II in 1994. Jack Johnson graduated from Kahuku High School in Oahu. He would later attend the University of California, Santa Barbara, and graduated in 1997 with a B.A. in film studies. While Johnson learned the guitar at the age of 8 and started songwriting at the age of 12, his passion for music grew when he played rhythm guitar for the band Soil (not to be confused with the heavy metal band of the same name) in college. In 1994, Zach Gill's band, Django Reinhardt, released a CD that quickly made Django a favorite band of the Isla Vista party scene at UCSB. Django was the rival of Jack Johnson's band Soil, but Gill and Johnson developed a strong friendship, eventually becoming bandmates in later years. While with Soil at UCSB, Johnson opened for then relatively unknown acts such as Sublime and Dave Matthews with far-from-sold-out crowds at the venues. Johnson credits his songwriting influences as Bob Dylan, Jimi Hendrix, Radiohead, Otis Redding, G. Love and Special Sauce, Ben Harper, Sublime, The Beatles, Bob Marley, Neil Young, and A Tribe Called Quest. Johnson names Jimi Hendrix as his all-time favorite guitarist. Career 2000–03: Brushfire Fairytales and On and On Jack Johnson's big break was writing and contributing vocals for the song "Rodeo Clowns" which was featured on G. Love's 1999 album Philadelphonic. The song would later become the most famous single on the album. Johnson was introduced to G. Love by a mutual friend of Johnson who was shooting surf films with him at the time. After hearing "Rodeo Clowns", G. Love saw Johnson's potential and effortless style and invited him to record with him. That led to the now-famous "Rodeo Clowns" recording, launching Johnson's career. In addition to his later success as a musician, Johnson is also an accomplished filmmaker. Johnson directed the surf films Thicker Than Water (2000) and The September Sessions (2002), in which he also starred. Both movie soundtracks were also products of Johnson. Johnson also starred in the 2004 surf film A Brokedown Melody. Suela released a four track demo that caught the attention of Ben Harper's producer, J. P. Plunier, who worked with Johnson to produce his debut album Brushfire Fairytales during December 2000 with Harper and his Weissenborn lap steel guitar making a guest appearance. Brushfire Fairytales was released on February 1, 2001, and led to Johnson becoming the opening act in late February 2001 for the last twenty-three cities of Ben Harper's "Innocent Criminals" tour of the United States. Johnson went back into the studio with Adam Topol (drums, percussion) and Merlo Podlewski (bass), who played on Brushfire Fairytales, and Mario Caldato Jr on production duties, to record his second full-length album On and On. It was the first album to be recorded at Johnson's Mango Tree Studio in Johnson's home town of North Shore, Oahu, and the first to be released through The Moonshine Conspiracy Records. On and On was released on May 6, 2003. The Moonshine Conspiracy Records was later changed to Brushfire Records; Johnson turned the offices and studios of his Los-Angeles based record company into a model of eco-friendliness, with solar power, recyclable CD packaging, and power-saving air conditioners. 2004–09: In Between Dreams, Curious George, and Sleep Through the Static On April 3, 2004, Johnson and Ben Harper performed with Toots and the Maytals on Saturday Night Live (season 29, episode 16). In October 2004, Johnson returned to the Mango Tree Studio with Topol and Podlewski along with Zach Gill (of Animal Liberation Orchestra) playing accordion, melodica and piano, to record his follow-up to 2003's On and On. In Between Dreams was released on March 1, 2005. Sing-A-Longs and Lullabies for the Film Curious George is a soundtrack album by Johnson, released on February 7, 2006. The album also features Ben Harper, G. Love, Merlo Podlewski and Zach Gill. It was the first soundtrack to make it to number 1 since the Bad Boys II soundtrack in August 2003, and was the first soundtrack for an animated film to top the Billboard 200 since the Pocahontas soundtrack in July 1995. Johnson enlisted J.P. Plunier to produce his fourth full-length studio album, Sleep Through the Static. It was recorded using 100% solar energy at the Solar-Powered Plastic Plant studio in Los Angeles. The album featured Gill (keys), Podlewski (bass) and Topol (drums, percussion). Sleep Through the Static was released on February 1, 2008, and was followed by a world tour. A live album and DVD of Johnson's 2008 world tour, entitled En Concert, was released on October 27, 2009. The DVD was directed by Emmett Malloy. Johnson spearheaded the Kōkua Festivals (2004–2008 and 2010). Often occurring around Earth Day, these six years of festivals provided support for the Kōkua Hawai'i Foundation, which is a charitable organization that supports environmental education in the schools and communities of Hawaii. Kōkua Festival 2004/2005 was a DVD released by Jack Johnson Music that showcased the early Kōkua Festivals. He also participated, with Willie Nelson, Jackson Browne, Dave Matthews, Eddie Vedder and others, in the documentary Kōkua 2008: 5 Years of Change (2009), produced by Brushfire and Three Foot Giant Productions and shown on Sundance Channel. On April 17, 2012, preceding his 2012 Hawaiian Islands tour, he released the live Kōkua Festival compilation Best of Kōkua Festival. Johnson produced Animal Liberation Orchestra's fifth studio album, Man of the World, which was released February 9, 2010. The album also features vocals from Johnson. 2010: To the Sea On February 1, 2010, Johnson's official website announced that his fifth studio album, To the Sea, was in the recording process at the Mango Tree Studio, with a planned worldwide release during the first week of June 2010. The website also announced an accompanying European, Australian and New Zealand tour to coincide with the album's release on midnight 31 May. The first single from To the Sea was "You and Your Heart", released on April 6, 2010. While speaking with New Zealand radio station ZM, Johnson said he is constantly aiming to build relationships with local pro-environment, non-profit groups. "We try to raise money for a lot of these groups who are doing positive things in the community. We try to focus mostly on environmental education, just trying to get kids out into nature, supporting local farms and things like that." Johnson embarked on a world tour in 2010 with Paula Fuga, a Hawaiian vocalist and ukulele player, performing at a range of venues across the world including Europe, New Zealand, Australia, Canada, U.S., and Japan. 2012: Hawaiian Islands tour On February 22, 2012, Jack with John Cruz and Paula Fuga announced a 7-show acoustic tour of the Hawaiian Islands during April. At the Stan Sheriff Center on April 14, 2012, during the Pillars of Peace Hawai'i: Building Peace on a Foundation of Aloha, Johnson performed introductory music before Nobel Peace Laureate Tenzin Gyatso, the 14th Dalai Lama of Tibet, gave the speech "Educating the Heart". Better Together was one of several songs Jack performed. 2013–2018: Bonnaroo, From Here to Now to You, and All the Light Above It Too Johnson released From Here to Now to You with his band on September 17, 2013. On June 15, 2013, Jack and the Band performed as headliners at the 2013 Bonnaroo in Tennessee. He also played two acoustic concerts, one at London's Tabernacle in Notting Hill and the other at New York City's Allen Room at Lincoln Center overlooking Central Park, featuring songs from his upcoming album. The From Here to Now to You Tour ran from March through September 2014. In February 2017, Johnson announced a U.S. tour beginning in Chicago at the Huntington Bank Pavilion on Northerly Island on June 1 and ending with two Kōkua Hawai‘i Foundation benefit concerts at the Waikiki Shell on August 4 & 5. Also, he revealed plans to release an album in the summer 2017. Later, he added a September 10 concert for the 2017 Ohana Fest at Doheny State Beach, Dana Point, California. On September 8, 2017, Jack released his seventh studio album All the Light Above It Too, and peaked at number 13 on the Billboard chart's "Artist 100." In July 2018, Johnson released his greatest hits album "Jack Johnson: The Essentials" in Japan. 2019–present: This Warm December and Global Citizen In late 2019 Johnson released a single "New Axe" which was featured on the This Warm December Vol. 3 album. He then did a "Together at Home" Instagram Live stream concert on March 28, 2020. His concert was the third most watched on the Global Citizen YouTube. He then also performed at the "One World: Together at Home" special, and a live version of "Better Together" was featured on the One World: Together at Home album. On May 1, 2020 he was featured on Milky Chance's new single "Don't Let Me Down". On September 26, 2020 Johnson performed the opening set at Farm Aid: On the Road. On December 4, 2020, Johnson released a new single titled "The Captain Is Drunk". On April 16, 2021, Johnson released a song titled "If Ever" with Paula Fuga and Ben Harper. The song appeared on Fuga's new album Rain on Sunday, which will be featured on Johnson's record label. In December 2021, Johnson announced his new Summer Tour 2022, which will consist of 30 dates. Personal life On July 22, 2000, Johnson married his college girlfriend, Kim Baker. They have three children: two boys and a girl. Johnson lives on the North Shore of the island of Oahu in Hawaii. In an interview with Johnson, Ann Donahue from Billboard described Johnson's family life by saying "There is often trouble in balancing the life of an artist, environmentalist, and family man, but Johnson seems to have the niche for such a challenge. This time around, he's found a pace that agrees with him...bringing his family along so he can spend mornings with them sightseeing." Both Johnson and his wife decline to talk about or release any intimate information concerning their children. Charity In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tōhoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: Vocal and music style Johnson combines poppy baritone vocals with laid-back acoustic instrumentation. His music has been variously described as folk rock, soft rock, acoustic rock, surf rock, trop rock, reggae, folk-pop, Jawaiian, acoustic pop, easy listening and blue-eyed soul. Discography Brushfire Fairytales (2001) On and On (2003) In Between Dreams (2005) Sing-A-Longs and Lullabies for the Film Curious George (2006) Sleep Through the Static (2008) To the Sea (2010) From Here to Now to You (2013) All the Light Above It Too (2017) Filmography List of awards and nominations received See also List of singer-songwriters References External links An Interview with G Love by The Mary Jane Experience 1975 births Living people 20th-century American singers 21st-century American singers American acoustic guitarists American male guitarists American film score composers American folk guitarists American folk singers American male singer-songwriters American philanthropists Record producers from Hawaii American rock guitarists American rock singers American rock songwriters American surfers Brit Award winners Brushfire Records artists American documentary film directors University of California, Santa Barbara alumni 20th-century American guitarists 21st-century American guitarists Guitarists from Hawaii American male film score composers 20th-century American male singers 21st-century American male singers Third Man Records artists Universal Records artists Singer-songwriters from Hawaii	true	[ "A click-to-donate site is a website where users can click a button to generate a donation for a charity without spending any of their own money. The money for the donation comes from advertisers whose banners are displayed each time a user clicks the button. While not directly contributing (though many sites offer additional ways of support), visitors are making a difference in the sense that, had they not visited, no donation would have been given. \n\nIn most cases, the donation generated by each user only amounts to a few cents, but the goal is to accumulate enough clicks to add up to a significant amount.\n\nMany charities launched this style of program in the late 1990s. However, the constriction of online advertising spending around 2001 following the dot-com collapse caused many sites to be closed. Yet there are still many in operation, notably Freerice, The Hunger Site, and Por Los Chicos. \n\nFlattr and CentUp (now defunct) used click-to-donate technology on many sites instead of being centralized on just one.\n\nSee also\nCrowdfunding\nMicrofinance\n\nReferences\n\nExternal links\n\n – An active listing of click-to-donate links.\n\nOnline charity", "Download to Donate is a program by Music for Relief, a non-profit organization established by Linkin Park in 2005 to help victims of natural disasters to help them recover from such disasters. So far, the program has released three compilations: two to support the 2010 earthquake in Haiti and one for the 2011 Tōhoku earthquake and tsunami. Several artists contribute songs to the compilations, and people are encouraged to either download the songs, in which the proceeds will go to relief efforts for the disasters; or to simply donate any amount money for the cause.\n\nDownload to Donate for Haiti\n\nDownload to Donate for Haiti is a compilation album by Music for Relief, who is working alongside United Nations Foundation, Habitat for Humanity and the Dave Matthews Band's BAMA Works to provide food, water, medical supplies and sustainable housing for those affected by the 2010 Haiti earthquake. Mike Shinoda and Enrique Iglesias promoted the compilation on Larry King Live. The compilation has raised around $270,000 with 115,000 downloads.\n\nDownload to Donate for Haiti V2.0\n\nOn the Music for Relief official website, it is revealed that there will be an updated version/sequel of Download to Donate for Haiti, called Download to Donate for Haiti V2.0, to be released on January 11, 2011. Some of the tracks from the first Download to Donate for Haiti are included in the album. The cause has raised more than $26,000. The donations will support Artists for Peace and Justice, charity: water, Direct Relief, Partners In Health and the United Nations Foundation, as well as reconstruction and the delivery of food, water and medical care in Haiti.\n\nOn February 22, 2011, Linkin Park members Chester Bennington, Brad Delson, Joe Hahn and Rob Bourdon joined United Nations Secretary General Ban Ki-moon in a Facebook Town Hall discussion on how they continue their work on raising efforts on awareness of Haiti. Fans were also encouraged to participate in the Download to Donate campaign.\n\nThe songs were no longer available for download from December 10, 2011. Music for Relief selected the Haitian Education and Leadership Program, or HELP, a program that gives higher education to young Haitians, as the final beneficiary of funds raised through Download to Donate for Haiti v2.0. Music for Relief still accepts donations for Haiti.\n\nDownload to Donate: Tsunami Relief\n\nDownload to Donate: Tsunami Relief (sometimes known as Download to Donate for Japan), launched on March 22, 2011, was the third Download to Donate compilation album. The proceeds for downloading the songs went to Save the Children, which helped the victims of the 2011 Tōhoku earthquake and tsunami. The songs were no longer available for download as of June 7, 2011.\n\nReferences\n\nExternal links\n Download to Donate Official Website\n\n2010 compilation albums\nCharity albums\nAlbums produced by Mike Shinoda" ]
[ "Jack Johnson (musician)", "Charity", "How is Jack Johnson involved in Charity ?", "Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental,", "Did he donate any money to charity ?", "2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate:" ]	C_391fe88f5f84425497f5f067ae578f28_0	Did he help raise any money for other catastrophes ?	3	Did Jack Johnson help raise any money for other catastrophes besides Hurricane Sandy?	Jack Johnson (musician)	In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tohoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: CANNOTANSWER	raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan	Jack Hody Johnson (born May 18, 1975) is an American singer-songwriter, multi-instrumentalist, actor, record producer, documentary filmmaker, and former professional surfer. Johnson is known primarily for his work in the soft rock and acoustic pop genres. In 2001, he achieved commercial success after the release of his debut album, Brushfire Fairytales. Johnson has reached number one on the Billboard 200 chart with his albums Sing-A-Longs and Lullabies for the Film Curious George in 2006, Sleep Through the Static in 2008, To the Sea in 2010 and From Here to Now to You in 2013. His album In Between Dreams peaked at number two on the chart in 2005 and again in 2013. Johnson is active in environmentalism and sustainability, often with a focus on the world's oceans. Johnson and his wife Kim created the Johnson Ohana Charitable Foundation and the Kōkua Hawaii Foundation. In 2008, Johnson adopted the concept of greening (reduce and reuse), and donated 100% of the proceeds of the Sleep Through the Static tour to the Johnson Ohana Charitable Foundation. Similarly, the proceeds from the 2010 To the Sea album tour went to All at Once, a Johnson-backed collaboration of greening charities promoting fan involvement. Early life The son of well-known surfer Jeffery Johnson, Jack was born and raised on the North Shore of Oahu, Hawaii. He began to learn how to surf at the age of 5. At 17, he became the youngest invitee to make the finals of the Pipeline Masters, one of surfing's most prestigious events, on Oahu's North Shore. One week later, however, his stint as a professional surfer ended when he suffered a surfing accident at the Pipeline that put more than 100 stitches in his forehead and removed a few of his teeth; this later became the inspiration for the song "Drink the Water". He appeared as a surfer in The Endless Summer II in 1994. Jack Johnson graduated from Kahuku High School in Oahu. He would later attend the University of California, Santa Barbara, and graduated in 1997 with a B.A. in film studies. While Johnson learned the guitar at the age of 8 and started songwriting at the age of 12, his passion for music grew when he played rhythm guitar for the band Soil (not to be confused with the heavy metal band of the same name) in college. In 1994, Zach Gill's band, Django Reinhardt, released a CD that quickly made Django a favorite band of the Isla Vista party scene at UCSB. Django was the rival of Jack Johnson's band Soil, but Gill and Johnson developed a strong friendship, eventually becoming bandmates in later years. While with Soil at UCSB, Johnson opened for then relatively unknown acts such as Sublime and Dave Matthews with far-from-sold-out crowds at the venues. Johnson credits his songwriting influences as Bob Dylan, Jimi Hendrix, Radiohead, Otis Redding, G. Love and Special Sauce, Ben Harper, Sublime, The Beatles, Bob Marley, Neil Young, and A Tribe Called Quest. Johnson names Jimi Hendrix as his all-time favorite guitarist. Career 2000–03: Brushfire Fairytales and On and On Jack Johnson's big break was writing and contributing vocals for the song "Rodeo Clowns" which was featured on G. Love's 1999 album Philadelphonic. The song would later become the most famous single on the album. Johnson was introduced to G. Love by a mutual friend of Johnson who was shooting surf films with him at the time. After hearing "Rodeo Clowns", G. Love saw Johnson's potential and effortless style and invited him to record with him. That led to the now-famous "Rodeo Clowns" recording, launching Johnson's career. In addition to his later success as a musician, Johnson is also an accomplished filmmaker. Johnson directed the surf films Thicker Than Water (2000) and The September Sessions (2002), in which he also starred. Both movie soundtracks were also products of Johnson. Johnson also starred in the 2004 surf film A Brokedown Melody. Suela released a four track demo that caught the attention of Ben Harper's producer, J. P. Plunier, who worked with Johnson to produce his debut album Brushfire Fairytales during December 2000 with Harper and his Weissenborn lap steel guitar making a guest appearance. Brushfire Fairytales was released on February 1, 2001, and led to Johnson becoming the opening act in late February 2001 for the last twenty-three cities of Ben Harper's "Innocent Criminals" tour of the United States. Johnson went back into the studio with Adam Topol (drums, percussion) and Merlo Podlewski (bass), who played on Brushfire Fairytales, and Mario Caldato Jr on production duties, to record his second full-length album On and On. It was the first album to be recorded at Johnson's Mango Tree Studio in Johnson's home town of North Shore, Oahu, and the first to be released through The Moonshine Conspiracy Records. On and On was released on May 6, 2003. The Moonshine Conspiracy Records was later changed to Brushfire Records; Johnson turned the offices and studios of his Los-Angeles based record company into a model of eco-friendliness, with solar power, recyclable CD packaging, and power-saving air conditioners. 2004–09: In Between Dreams, Curious George, and Sleep Through the Static On April 3, 2004, Johnson and Ben Harper performed with Toots and the Maytals on Saturday Night Live (season 29, episode 16). In October 2004, Johnson returned to the Mango Tree Studio with Topol and Podlewski along with Zach Gill (of Animal Liberation Orchestra) playing accordion, melodica and piano, to record his follow-up to 2003's On and On. In Between Dreams was released on March 1, 2005. Sing-A-Longs and Lullabies for the Film Curious George is a soundtrack album by Johnson, released on February 7, 2006. The album also features Ben Harper, G. Love, Merlo Podlewski and Zach Gill. It was the first soundtrack to make it to number 1 since the Bad Boys II soundtrack in August 2003, and was the first soundtrack for an animated film to top the Billboard 200 since the Pocahontas soundtrack in July 1995. Johnson enlisted J.P. Plunier to produce his fourth full-length studio album, Sleep Through the Static. It was recorded using 100% solar energy at the Solar-Powered Plastic Plant studio in Los Angeles. The album featured Gill (keys), Podlewski (bass) and Topol (drums, percussion). Sleep Through the Static was released on February 1, 2008, and was followed by a world tour. A live album and DVD of Johnson's 2008 world tour, entitled En Concert, was released on October 27, 2009. The DVD was directed by Emmett Malloy. Johnson spearheaded the Kōkua Festivals (2004–2008 and 2010). Often occurring around Earth Day, these six years of festivals provided support for the Kōkua Hawai'i Foundation, which is a charitable organization that supports environmental education in the schools and communities of Hawaii. Kōkua Festival 2004/2005 was a DVD released by Jack Johnson Music that showcased the early Kōkua Festivals. He also participated, with Willie Nelson, Jackson Browne, Dave Matthews, Eddie Vedder and others, in the documentary Kōkua 2008: 5 Years of Change (2009), produced by Brushfire and Three Foot Giant Productions and shown on Sundance Channel. On April 17, 2012, preceding his 2012 Hawaiian Islands tour, he released the live Kōkua Festival compilation Best of Kōkua Festival. Johnson produced Animal Liberation Orchestra's fifth studio album, Man of the World, which was released February 9, 2010. The album also features vocals from Johnson. 2010: To the Sea On February 1, 2010, Johnson's official website announced that his fifth studio album, To the Sea, was in the recording process at the Mango Tree Studio, with a planned worldwide release during the first week of June 2010. The website also announced an accompanying European, Australian and New Zealand tour to coincide with the album's release on midnight 31 May. The first single from To the Sea was "You and Your Heart", released on April 6, 2010. While speaking with New Zealand radio station ZM, Johnson said he is constantly aiming to build relationships with local pro-environment, non-profit groups. "We try to raise money for a lot of these groups who are doing positive things in the community. We try to focus mostly on environmental education, just trying to get kids out into nature, supporting local farms and things like that." Johnson embarked on a world tour in 2010 with Paula Fuga, a Hawaiian vocalist and ukulele player, performing at a range of venues across the world including Europe, New Zealand, Australia, Canada, U.S., and Japan. 2012: Hawaiian Islands tour On February 22, 2012, Jack with John Cruz and Paula Fuga announced a 7-show acoustic tour of the Hawaiian Islands during April. At the Stan Sheriff Center on April 14, 2012, during the Pillars of Peace Hawai'i: Building Peace on a Foundation of Aloha, Johnson performed introductory music before Nobel Peace Laureate Tenzin Gyatso, the 14th Dalai Lama of Tibet, gave the speech "Educating the Heart". Better Together was one of several songs Jack performed. 2013–2018: Bonnaroo, From Here to Now to You, and All the Light Above It Too Johnson released From Here to Now to You with his band on September 17, 2013. On June 15, 2013, Jack and the Band performed as headliners at the 2013 Bonnaroo in Tennessee. He also played two acoustic concerts, one at London's Tabernacle in Notting Hill and the other at New York City's Allen Room at Lincoln Center overlooking Central Park, featuring songs from his upcoming album. The From Here to Now to You Tour ran from March through September 2014. In February 2017, Johnson announced a U.S. tour beginning in Chicago at the Huntington Bank Pavilion on Northerly Island on June 1 and ending with two Kōkua Hawai‘i Foundation benefit concerts at the Waikiki Shell on August 4 & 5. Also, he revealed plans to release an album in the summer 2017. Later, he added a September 10 concert for the 2017 Ohana Fest at Doheny State Beach, Dana Point, California. On September 8, 2017, Jack released his seventh studio album All the Light Above It Too, and peaked at number 13 on the Billboard chart's "Artist 100." In July 2018, Johnson released his greatest hits album "Jack Johnson: The Essentials" in Japan. 2019–present: This Warm December and Global Citizen In late 2019 Johnson released a single "New Axe" which was featured on the This Warm December Vol. 3 album. He then did a "Together at Home" Instagram Live stream concert on March 28, 2020. His concert was the third most watched on the Global Citizen YouTube. He then also performed at the "One World: Together at Home" special, and a live version of "Better Together" was featured on the One World: Together at Home album. On May 1, 2020 he was featured on Milky Chance's new single "Don't Let Me Down". On September 26, 2020 Johnson performed the opening set at Farm Aid: On the Road. On December 4, 2020, Johnson released a new single titled "The Captain Is Drunk". On April 16, 2021, Johnson released a song titled "If Ever" with Paula Fuga and Ben Harper. The song appeared on Fuga's new album Rain on Sunday, which will be featured on Johnson's record label. In December 2021, Johnson announced his new Summer Tour 2022, which will consist of 30 dates. Personal life On July 22, 2000, Johnson married his college girlfriend, Kim Baker. They have three children: two boys and a girl. Johnson lives on the North Shore of the island of Oahu in Hawaii. In an interview with Johnson, Ann Donahue from Billboard described Johnson's family life by saying "There is often trouble in balancing the life of an artist, environmentalist, and family man, but Johnson seems to have the niche for such a challenge. This time around, he's found a pace that agrees with him...bringing his family along so he can spend mornings with them sightseeing." Both Johnson and his wife decline to talk about or release any intimate information concerning their children. Charity In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tōhoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: Vocal and music style Johnson combines poppy baritone vocals with laid-back acoustic instrumentation. His music has been variously described as folk rock, soft rock, acoustic rock, surf rock, trop rock, reggae, folk-pop, Jawaiian, acoustic pop, easy listening and blue-eyed soul. Discography Brushfire Fairytales (2001) On and On (2003) In Between Dreams (2005) Sing-A-Longs and Lullabies for the Film Curious George (2006) Sleep Through the Static (2008) To the Sea (2010) From Here to Now to You (2013) All the Light Above It Too (2017) Filmography List of awards and nominations received See also List of singer-songwriters References External links An Interview with G Love by The Mary Jane Experience 1975 births Living people 20th-century American singers 21st-century American singers American acoustic guitarists American male guitarists American film score composers American folk guitarists American folk singers American male singer-songwriters American philanthropists Record producers from Hawaii American rock guitarists American rock singers American rock songwriters American surfers Brit Award winners Brushfire Records artists American documentary film directors University of California, Santa Barbara alumni 20th-century American guitarists 21st-century American guitarists Guitarists from Hawaii American male film score composers 20th-century American male singers 21st-century American male singers Third Man Records artists Universal Records artists Singer-songwriters from Hawaii	true	[ "Sam Isaacson's Invitational Cup is a charity five-a-side football tournament held in Cambridge, England. This tournament is designed to raise funds for cancer research and Addenbrooke's Hospital Oncology Department. Sam Isaacson was diagnosed with terminal cancer in 2015 and since then Sam has been on a quest to raise awareness and money for cancer charities. With the help and support of Kinnerz coaching and Lightside photography. So far, Sam and her friends and supporters have raised £17,000. Alongside the invitational cup, Sam also organizes Kick Cancer Cup - a football event held each year in the autumn which also raises money for cancer-based organizations.\n\nReferences\n\nFootball competitions in England", "\"Gine Mazi Mou Paidi\" is a song written by Thanos Papanikolaou in 2006 specifically to raise money for a fundraiser οrganized by ANT1 TV. Many popular presenters, actors, singers and others from the radio station \"Rythmos 94.9\" participated to the fundraiser to help raise money for the poor and disabled children all over the Greece.\n\nTrack listing\n\nParticipants\n\nFirst Song\n\nKalomira\nKostas Karafotis\nGiorgos Lianos\nMaro Lytra\nMary Akrivopoulou\nGrigoris Valtinos\nMarkella Giannatou\nKostas Kolkas\nRenia Louizidou\nEvdokia Roumelioti\nHaris Romas\nNiki Kartsona\nEleonora Meleti\nMakis Pounentis\n\nSecond Song\nChorus of Spiros Lampros\n\nReferences\n\n2006 singles\nGreek-language songs\nKalomira songs" ]
[ "Jack Johnson (musician)", "Charity", "How is Jack Johnson involved in Charity ?", "Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental,", "Did he donate any money to charity ?", "2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate:", "Did he help raise any money for other catastrophes ?", "raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan" ]	C_391fe88f5f84425497f5f067ae578f28_0	Did he ever tour and play music for charity ?	4	Did Jack Johnson ever tour and play music for charity ?	Jack Johnson (musician)	In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tohoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: CANNOTANSWER	After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund.	Jack Hody Johnson (born May 18, 1975) is an American singer-songwriter, multi-instrumentalist, actor, record producer, documentary filmmaker, and former professional surfer. Johnson is known primarily for his work in the soft rock and acoustic pop genres. In 2001, he achieved commercial success after the release of his debut album, Brushfire Fairytales. Johnson has reached number one on the Billboard 200 chart with his albums Sing-A-Longs and Lullabies for the Film Curious George in 2006, Sleep Through the Static in 2008, To the Sea in 2010 and From Here to Now to You in 2013. His album In Between Dreams peaked at number two on the chart in 2005 and again in 2013. Johnson is active in environmentalism and sustainability, often with a focus on the world's oceans. Johnson and his wife Kim created the Johnson Ohana Charitable Foundation and the Kōkua Hawaii Foundation. In 2008, Johnson adopted the concept of greening (reduce and reuse), and donated 100% of the proceeds of the Sleep Through the Static tour to the Johnson Ohana Charitable Foundation. Similarly, the proceeds from the 2010 To the Sea album tour went to All at Once, a Johnson-backed collaboration of greening charities promoting fan involvement. Early life The son of well-known surfer Jeffery Johnson, Jack was born and raised on the North Shore of Oahu, Hawaii. He began to learn how to surf at the age of 5. At 17, he became the youngest invitee to make the finals of the Pipeline Masters, one of surfing's most prestigious events, on Oahu's North Shore. One week later, however, his stint as a professional surfer ended when he suffered a surfing accident at the Pipeline that put more than 100 stitches in his forehead and removed a few of his teeth; this later became the inspiration for the song "Drink the Water". He appeared as a surfer in The Endless Summer II in 1994. Jack Johnson graduated from Kahuku High School in Oahu. He would later attend the University of California, Santa Barbara, and graduated in 1997 with a B.A. in film studies. While Johnson learned the guitar at the age of 8 and started songwriting at the age of 12, his passion for music grew when he played rhythm guitar for the band Soil (not to be confused with the heavy metal band of the same name) in college. In 1994, Zach Gill's band, Django Reinhardt, released a CD that quickly made Django a favorite band of the Isla Vista party scene at UCSB. Django was the rival of Jack Johnson's band Soil, but Gill and Johnson developed a strong friendship, eventually becoming bandmates in later years. While with Soil at UCSB, Johnson opened for then relatively unknown acts such as Sublime and Dave Matthews with far-from-sold-out crowds at the venues. Johnson credits his songwriting influences as Bob Dylan, Jimi Hendrix, Radiohead, Otis Redding, G. Love and Special Sauce, Ben Harper, Sublime, The Beatles, Bob Marley, Neil Young, and A Tribe Called Quest. Johnson names Jimi Hendrix as his all-time favorite guitarist. Career 2000–03: Brushfire Fairytales and On and On Jack Johnson's big break was writing and contributing vocals for the song "Rodeo Clowns" which was featured on G. Love's 1999 album Philadelphonic. The song would later become the most famous single on the album. Johnson was introduced to G. Love by a mutual friend of Johnson who was shooting surf films with him at the time. After hearing "Rodeo Clowns", G. Love saw Johnson's potential and effortless style and invited him to record with him. That led to the now-famous "Rodeo Clowns" recording, launching Johnson's career. In addition to his later success as a musician, Johnson is also an accomplished filmmaker. Johnson directed the surf films Thicker Than Water (2000) and The September Sessions (2002), in which he also starred. Both movie soundtracks were also products of Johnson. Johnson also starred in the 2004 surf film A Brokedown Melody. Suela released a four track demo that caught the attention of Ben Harper's producer, J. P. Plunier, who worked with Johnson to produce his debut album Brushfire Fairytales during December 2000 with Harper and his Weissenborn lap steel guitar making a guest appearance. Brushfire Fairytales was released on February 1, 2001, and led to Johnson becoming the opening act in late February 2001 for the last twenty-three cities of Ben Harper's "Innocent Criminals" tour of the United States. Johnson went back into the studio with Adam Topol (drums, percussion) and Merlo Podlewski (bass), who played on Brushfire Fairytales, and Mario Caldato Jr on production duties, to record his second full-length album On and On. It was the first album to be recorded at Johnson's Mango Tree Studio in Johnson's home town of North Shore, Oahu, and the first to be released through The Moonshine Conspiracy Records. On and On was released on May 6, 2003. The Moonshine Conspiracy Records was later changed to Brushfire Records; Johnson turned the offices and studios of his Los-Angeles based record company into a model of eco-friendliness, with solar power, recyclable CD packaging, and power-saving air conditioners. 2004–09: In Between Dreams, Curious George, and Sleep Through the Static On April 3, 2004, Johnson and Ben Harper performed with Toots and the Maytals on Saturday Night Live (season 29, episode 16). In October 2004, Johnson returned to the Mango Tree Studio with Topol and Podlewski along with Zach Gill (of Animal Liberation Orchestra) playing accordion, melodica and piano, to record his follow-up to 2003's On and On. In Between Dreams was released on March 1, 2005. Sing-A-Longs and Lullabies for the Film Curious George is a soundtrack album by Johnson, released on February 7, 2006. The album also features Ben Harper, G. Love, Merlo Podlewski and Zach Gill. It was the first soundtrack to make it to number 1 since the Bad Boys II soundtrack in August 2003, and was the first soundtrack for an animated film to top the Billboard 200 since the Pocahontas soundtrack in July 1995. Johnson enlisted J.P. Plunier to produce his fourth full-length studio album, Sleep Through the Static. It was recorded using 100% solar energy at the Solar-Powered Plastic Plant studio in Los Angeles. The album featured Gill (keys), Podlewski (bass) and Topol (drums, percussion). Sleep Through the Static was released on February 1, 2008, and was followed by a world tour. A live album and DVD of Johnson's 2008 world tour, entitled En Concert, was released on October 27, 2009. The DVD was directed by Emmett Malloy. Johnson spearheaded the Kōkua Festivals (2004–2008 and 2010). Often occurring around Earth Day, these six years of festivals provided support for the Kōkua Hawai'i Foundation, which is a charitable organization that supports environmental education in the schools and communities of Hawaii. Kōkua Festival 2004/2005 was a DVD released by Jack Johnson Music that showcased the early Kōkua Festivals. He also participated, with Willie Nelson, Jackson Browne, Dave Matthews, Eddie Vedder and others, in the documentary Kōkua 2008: 5 Years of Change (2009), produced by Brushfire and Three Foot Giant Productions and shown on Sundance Channel. On April 17, 2012, preceding his 2012 Hawaiian Islands tour, he released the live Kōkua Festival compilation Best of Kōkua Festival. Johnson produced Animal Liberation Orchestra's fifth studio album, Man of the World, which was released February 9, 2010. The album also features vocals from Johnson. 2010: To the Sea On February 1, 2010, Johnson's official website announced that his fifth studio album, To the Sea, was in the recording process at the Mango Tree Studio, with a planned worldwide release during the first week of June 2010. The website also announced an accompanying European, Australian and New Zealand tour to coincide with the album's release on midnight 31 May. The first single from To the Sea was "You and Your Heart", released on April 6, 2010. While speaking with New Zealand radio station ZM, Johnson said he is constantly aiming to build relationships with local pro-environment, non-profit groups. "We try to raise money for a lot of these groups who are doing positive things in the community. We try to focus mostly on environmental education, just trying to get kids out into nature, supporting local farms and things like that." Johnson embarked on a world tour in 2010 with Paula Fuga, a Hawaiian vocalist and ukulele player, performing at a range of venues across the world including Europe, New Zealand, Australia, Canada, U.S., and Japan. 2012: Hawaiian Islands tour On February 22, 2012, Jack with John Cruz and Paula Fuga announced a 7-show acoustic tour of the Hawaiian Islands during April. At the Stan Sheriff Center on April 14, 2012, during the Pillars of Peace Hawai'i: Building Peace on a Foundation of Aloha, Johnson performed introductory music before Nobel Peace Laureate Tenzin Gyatso, the 14th Dalai Lama of Tibet, gave the speech "Educating the Heart". Better Together was one of several songs Jack performed. 2013–2018: Bonnaroo, From Here to Now to You, and All the Light Above It Too Johnson released From Here to Now to You with his band on September 17, 2013. On June 15, 2013, Jack and the Band performed as headliners at the 2013 Bonnaroo in Tennessee. He also played two acoustic concerts, one at London's Tabernacle in Notting Hill and the other at New York City's Allen Room at Lincoln Center overlooking Central Park, featuring songs from his upcoming album. The From Here to Now to You Tour ran from March through September 2014. In February 2017, Johnson announced a U.S. tour beginning in Chicago at the Huntington Bank Pavilion on Northerly Island on June 1 and ending with two Kōkua Hawai‘i Foundation benefit concerts at the Waikiki Shell on August 4 & 5. Also, he revealed plans to release an album in the summer 2017. Later, he added a September 10 concert for the 2017 Ohana Fest at Doheny State Beach, Dana Point, California. On September 8, 2017, Jack released his seventh studio album All the Light Above It Too, and peaked at number 13 on the Billboard chart's "Artist 100." In July 2018, Johnson released his greatest hits album "Jack Johnson: The Essentials" in Japan. 2019–present: This Warm December and Global Citizen In late 2019 Johnson released a single "New Axe" which was featured on the This Warm December Vol. 3 album. He then did a "Together at Home" Instagram Live stream concert on March 28, 2020. His concert was the third most watched on the Global Citizen YouTube. He then also performed at the "One World: Together at Home" special, and a live version of "Better Together" was featured on the One World: Together at Home album. On May 1, 2020 he was featured on Milky Chance's new single "Don't Let Me Down". On September 26, 2020 Johnson performed the opening set at Farm Aid: On the Road. On December 4, 2020, Johnson released a new single titled "The Captain Is Drunk". On April 16, 2021, Johnson released a song titled "If Ever" with Paula Fuga and Ben Harper. The song appeared on Fuga's new album Rain on Sunday, which will be featured on Johnson's record label. In December 2021, Johnson announced his new Summer Tour 2022, which will consist of 30 dates. Personal life On July 22, 2000, Johnson married his college girlfriend, Kim Baker. They have three children: two boys and a girl. Johnson lives on the North Shore of the island of Oahu in Hawaii. In an interview with Johnson, Ann Donahue from Billboard described Johnson's family life by saying "There is often trouble in balancing the life of an artist, environmentalist, and family man, but Johnson seems to have the niche for such a challenge. This time around, he's found a pace that agrees with him...bringing his family along so he can spend mornings with them sightseeing." Both Johnson and his wife decline to talk about or release any intimate information concerning their children. Charity In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tōhoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: Vocal and music style Johnson combines poppy baritone vocals with laid-back acoustic instrumentation. His music has been variously described as folk rock, soft rock, acoustic rock, surf rock, trop rock, reggae, folk-pop, Jawaiian, acoustic pop, easy listening and blue-eyed soul. Discography Brushfire Fairytales (2001) On and On (2003) In Between Dreams (2005) Sing-A-Longs and Lullabies for the Film Curious George (2006) Sleep Through the Static (2008) To the Sea (2010) From Here to Now to You (2013) All the Light Above It Too (2017) Filmography List of awards and nominations received See also List of singer-songwriters References External links An Interview with G Love by The Mary Jane Experience 1975 births Living people 20th-century American singers 21st-century American singers American acoustic guitarists American male guitarists American film score composers American folk guitarists American folk singers American male singer-songwriters American philanthropists Record producers from Hawaii American rock guitarists American rock singers American rock songwriters American surfers Brit Award winners Brushfire Records artists American documentary film directors University of California, Santa Barbara alumni 20th-century American guitarists 21st-century American guitarists Guitarists from Hawaii American male film score composers 20th-century American male singers 21st-century American male singers Third Man Records artists Universal Records artists Singer-songwriters from Hawaii	true	[ "\"The Internet Is Here\" is a song written and recorded by British YouTube duo Dan and Phil to raise plata for Stand Up to Cancer UK, a charity that raise money for cancer research. It was released on 12 October 2016 on YouTube, iTunes and Google Play.\n\nBackground \nDuring Howell and Lester's world tour of their stage show The Amazing Tour Is Not On Fire, they debuted their first ever musical number, with which they closed the show. The purpose of the number was for them to explore the joys of the internet in a joking manner, and as such it contains references to multiple popular websites, such as Twitter and Tumblr. By popular demand from fans who had seen the performance, Howell and Lester decided to record the song and release it as a charity single as a part of Stand Up to Cancer to promote cancer awareness. All profits for the single went to the cause.\n\nCommercial performance\n\nOn 25 December 2016, on a live show on the site YouNow, they showed a gold record disc given to them by Stand Up To Cancer for the sales of the song.\n\nReferences\n\n2016 singles\n2016 songs\nCharity singles\nDan and Phil", "Jimmy Gunn (born 18 July 1980) is a Scottish professional golfer.\n\nUnlike most professional golfers, Gunn did not play golf in college, but worked on oil rigs and built homes after finishing his schooling.\n\nIn 2007, Gunn moved to the United States to turn professional. Gunn played the 2014 season on the Web.com Tour with a best finish of T-18 at the BMW Charity Pro-Am. He played the 2015 season on the Gateway Tour.\n\nGunn finished tied for 27th at the 2015 U.S. Open. To qualify for the open he had to play in both local and sectional qualifying and ultimately qualified as an alternate.\n\nSince 2016 Gunn has played on the Web.com Tour. His best result was in the 2017 The Bahamas Great Abaco Classic where he was runner-up to Andrew Landry.\n\nProfessional wins (2)\n2013 San Juan Open\n2015 Colorado Open\n\nResults in major championships\n\n\"T\" indicates a tie for a place\n\nReferences\n\nExternal links\n\nScottish male golfers\nPeople from Dingwall\n1980 births\nLiving people" ]
[ "Jack Johnson (musician)", "Charity", "How is Jack Johnson involved in Charity ?", "Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental,", "Did he donate any money to charity ?", "2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate:", "Did he help raise any money for other catastrophes ?", "raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan", "Did he ever tour and play music for charity ?", "After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund." ]	C_391fe88f5f84425497f5f067ae578f28_0	Are there any other interesting aspects about this article?	5	Are there any other interesting aspects about Jack Johnson besides his Charity work with Hurricane Sandy and the Japan Earthquake?	Jack Johnson (musician)	In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tohoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: CANNOTANSWER	Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works	Jack Hody Johnson (born May 18, 1975) is an American singer-songwriter, multi-instrumentalist, actor, record producer, documentary filmmaker, and former professional surfer. Johnson is known primarily for his work in the soft rock and acoustic pop genres. In 2001, he achieved commercial success after the release of his debut album, Brushfire Fairytales. Johnson has reached number one on the Billboard 200 chart with his albums Sing-A-Longs and Lullabies for the Film Curious George in 2006, Sleep Through the Static in 2008, To the Sea in 2010 and From Here to Now to You in 2013. His album In Between Dreams peaked at number two on the chart in 2005 and again in 2013. Johnson is active in environmentalism and sustainability, often with a focus on the world's oceans. Johnson and his wife Kim created the Johnson Ohana Charitable Foundation and the Kōkua Hawaii Foundation. In 2008, Johnson adopted the concept of greening (reduce and reuse), and donated 100% of the proceeds of the Sleep Through the Static tour to the Johnson Ohana Charitable Foundation. Similarly, the proceeds from the 2010 To the Sea album tour went to All at Once, a Johnson-backed collaboration of greening charities promoting fan involvement. Early life The son of well-known surfer Jeffery Johnson, Jack was born and raised on the North Shore of Oahu, Hawaii. He began to learn how to surf at the age of 5. At 17, he became the youngest invitee to make the finals of the Pipeline Masters, one of surfing's most prestigious events, on Oahu's North Shore. One week later, however, his stint as a professional surfer ended when he suffered a surfing accident at the Pipeline that put more than 100 stitches in his forehead and removed a few of his teeth; this later became the inspiration for the song "Drink the Water". He appeared as a surfer in The Endless Summer II in 1994. Jack Johnson graduated from Kahuku High School in Oahu. He would later attend the University of California, Santa Barbara, and graduated in 1997 with a B.A. in film studies. While Johnson learned the guitar at the age of 8 and started songwriting at the age of 12, his passion for music grew when he played rhythm guitar for the band Soil (not to be confused with the heavy metal band of the same name) in college. In 1994, Zach Gill's band, Django Reinhardt, released a CD that quickly made Django a favorite band of the Isla Vista party scene at UCSB. Django was the rival of Jack Johnson's band Soil, but Gill and Johnson developed a strong friendship, eventually becoming bandmates in later years. While with Soil at UCSB, Johnson opened for then relatively unknown acts such as Sublime and Dave Matthews with far-from-sold-out crowds at the venues. Johnson credits his songwriting influences as Bob Dylan, Jimi Hendrix, Radiohead, Otis Redding, G. Love and Special Sauce, Ben Harper, Sublime, The Beatles, Bob Marley, Neil Young, and A Tribe Called Quest. Johnson names Jimi Hendrix as his all-time favorite guitarist. Career 2000–03: Brushfire Fairytales and On and On Jack Johnson's big break was writing and contributing vocals for the song "Rodeo Clowns" which was featured on G. Love's 1999 album Philadelphonic. The song would later become the most famous single on the album. Johnson was introduced to G. Love by a mutual friend of Johnson who was shooting surf films with him at the time. After hearing "Rodeo Clowns", G. Love saw Johnson's potential and effortless style and invited him to record with him. That led to the now-famous "Rodeo Clowns" recording, launching Johnson's career. In addition to his later success as a musician, Johnson is also an accomplished filmmaker. Johnson directed the surf films Thicker Than Water (2000) and The September Sessions (2002), in which he also starred. Both movie soundtracks were also products of Johnson. Johnson also starred in the 2004 surf film A Brokedown Melody. Suela released a four track demo that caught the attention of Ben Harper's producer, J. P. Plunier, who worked with Johnson to produce his debut album Brushfire Fairytales during December 2000 with Harper and his Weissenborn lap steel guitar making a guest appearance. Brushfire Fairytales was released on February 1, 2001, and led to Johnson becoming the opening act in late February 2001 for the last twenty-three cities of Ben Harper's "Innocent Criminals" tour of the United States. Johnson went back into the studio with Adam Topol (drums, percussion) and Merlo Podlewski (bass), who played on Brushfire Fairytales, and Mario Caldato Jr on production duties, to record his second full-length album On and On. It was the first album to be recorded at Johnson's Mango Tree Studio in Johnson's home town of North Shore, Oahu, and the first to be released through The Moonshine Conspiracy Records. On and On was released on May 6, 2003. The Moonshine Conspiracy Records was later changed to Brushfire Records; Johnson turned the offices and studios of his Los-Angeles based record company into a model of eco-friendliness, with solar power, recyclable CD packaging, and power-saving air conditioners. 2004–09: In Between Dreams, Curious George, and Sleep Through the Static On April 3, 2004, Johnson and Ben Harper performed with Toots and the Maytals on Saturday Night Live (season 29, episode 16). In October 2004, Johnson returned to the Mango Tree Studio with Topol and Podlewski along with Zach Gill (of Animal Liberation Orchestra) playing accordion, melodica and piano, to record his follow-up to 2003's On and On. In Between Dreams was released on March 1, 2005. Sing-A-Longs and Lullabies for the Film Curious George is a soundtrack album by Johnson, released on February 7, 2006. The album also features Ben Harper, G. Love, Merlo Podlewski and Zach Gill. It was the first soundtrack to make it to number 1 since the Bad Boys II soundtrack in August 2003, and was the first soundtrack for an animated film to top the Billboard 200 since the Pocahontas soundtrack in July 1995. Johnson enlisted J.P. Plunier to produce his fourth full-length studio album, Sleep Through the Static. It was recorded using 100% solar energy at the Solar-Powered Plastic Plant studio in Los Angeles. The album featured Gill (keys), Podlewski (bass) and Topol (drums, percussion). Sleep Through the Static was released on February 1, 2008, and was followed by a world tour. A live album and DVD of Johnson's 2008 world tour, entitled En Concert, was released on October 27, 2009. The DVD was directed by Emmett Malloy. Johnson spearheaded the Kōkua Festivals (2004–2008 and 2010). Often occurring around Earth Day, these six years of festivals provided support for the Kōkua Hawai'i Foundation, which is a charitable organization that supports environmental education in the schools and communities of Hawaii. Kōkua Festival 2004/2005 was a DVD released by Jack Johnson Music that showcased the early Kōkua Festivals. He also participated, with Willie Nelson, Jackson Browne, Dave Matthews, Eddie Vedder and others, in the documentary Kōkua 2008: 5 Years of Change (2009), produced by Brushfire and Three Foot Giant Productions and shown on Sundance Channel. On April 17, 2012, preceding his 2012 Hawaiian Islands tour, he released the live Kōkua Festival compilation Best of Kōkua Festival. Johnson produced Animal Liberation Orchestra's fifth studio album, Man of the World, which was released February 9, 2010. The album also features vocals from Johnson. 2010: To the Sea On February 1, 2010, Johnson's official website announced that his fifth studio album, To the Sea, was in the recording process at the Mango Tree Studio, with a planned worldwide release during the first week of June 2010. The website also announced an accompanying European, Australian and New Zealand tour to coincide with the album's release on midnight 31 May. The first single from To the Sea was "You and Your Heart", released on April 6, 2010. While speaking with New Zealand radio station ZM, Johnson said he is constantly aiming to build relationships with local pro-environment, non-profit groups. "We try to raise money for a lot of these groups who are doing positive things in the community. We try to focus mostly on environmental education, just trying to get kids out into nature, supporting local farms and things like that." Johnson embarked on a world tour in 2010 with Paula Fuga, a Hawaiian vocalist and ukulele player, performing at a range of venues across the world including Europe, New Zealand, Australia, Canada, U.S., and Japan. 2012: Hawaiian Islands tour On February 22, 2012, Jack with John Cruz and Paula Fuga announced a 7-show acoustic tour of the Hawaiian Islands during April. At the Stan Sheriff Center on April 14, 2012, during the Pillars of Peace Hawai'i: Building Peace on a Foundation of Aloha, Johnson performed introductory music before Nobel Peace Laureate Tenzin Gyatso, the 14th Dalai Lama of Tibet, gave the speech "Educating the Heart". Better Together was one of several songs Jack performed. 2013–2018: Bonnaroo, From Here to Now to You, and All the Light Above It Too Johnson released From Here to Now to You with his band on September 17, 2013. On June 15, 2013, Jack and the Band performed as headliners at the 2013 Bonnaroo in Tennessee. He also played two acoustic concerts, one at London's Tabernacle in Notting Hill and the other at New York City's Allen Room at Lincoln Center overlooking Central Park, featuring songs from his upcoming album. The From Here to Now to You Tour ran from March through September 2014. In February 2017, Johnson announced a U.S. tour beginning in Chicago at the Huntington Bank Pavilion on Northerly Island on June 1 and ending with two Kōkua Hawai‘i Foundation benefit concerts at the Waikiki Shell on August 4 & 5. Also, he revealed plans to release an album in the summer 2017. Later, he added a September 10 concert for the 2017 Ohana Fest at Doheny State Beach, Dana Point, California. On September 8, 2017, Jack released his seventh studio album All the Light Above It Too, and peaked at number 13 on the Billboard chart's "Artist 100." In July 2018, Johnson released his greatest hits album "Jack Johnson: The Essentials" in Japan. 2019–present: This Warm December and Global Citizen In late 2019 Johnson released a single "New Axe" which was featured on the This Warm December Vol. 3 album. He then did a "Together at Home" Instagram Live stream concert on March 28, 2020. His concert was the third most watched on the Global Citizen YouTube. He then also performed at the "One World: Together at Home" special, and a live version of "Better Together" was featured on the One World: Together at Home album. On May 1, 2020 he was featured on Milky Chance's new single "Don't Let Me Down". On September 26, 2020 Johnson performed the opening set at Farm Aid: On the Road. On December 4, 2020, Johnson released a new single titled "The Captain Is Drunk". On April 16, 2021, Johnson released a song titled "If Ever" with Paula Fuga and Ben Harper. The song appeared on Fuga's new album Rain on Sunday, which will be featured on Johnson's record label. In December 2021, Johnson announced his new Summer Tour 2022, which will consist of 30 dates. Personal life On July 22, 2000, Johnson married his college girlfriend, Kim Baker. They have three children: two boys and a girl. Johnson lives on the North Shore of the island of Oahu in Hawaii. In an interview with Johnson, Ann Donahue from Billboard described Johnson's family life by saying "There is often trouble in balancing the life of an artist, environmentalist, and family man, but Johnson seems to have the niche for such a challenge. This time around, he's found a pace that agrees with him...bringing his family along so he can spend mornings with them sightseeing." Both Johnson and his wife decline to talk about or release any intimate information concerning their children. Charity In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tōhoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: Vocal and music style Johnson combines poppy baritone vocals with laid-back acoustic instrumentation. His music has been variously described as folk rock, soft rock, acoustic rock, surf rock, trop rock, reggae, folk-pop, Jawaiian, acoustic pop, easy listening and blue-eyed soul. Discography Brushfire Fairytales (2001) On and On (2003) In Between Dreams (2005) Sing-A-Longs and Lullabies for the Film Curious George (2006) Sleep Through the Static (2008) To the Sea (2010) From Here to Now to You (2013) All the Light Above It Too (2017) Filmography List of awards and nominations received See also List of singer-songwriters References External links An Interview with G Love by The Mary Jane Experience 1975 births Living people 20th-century American singers 21st-century American singers American acoustic guitarists American male guitarists American film score composers American folk guitarists American folk singers American male singer-songwriters American philanthropists Record producers from Hawaii American rock guitarists American rock singers American rock songwriters American surfers Brit Award winners Brushfire Records artists American documentary film directors University of California, Santa Barbara alumni 20th-century American guitarists 21st-century American guitarists Guitarists from Hawaii American male film score composers 20th-century American male singers 21st-century American male singers Third Man Records artists Universal Records artists Singer-songwriters from Hawaii	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" ]
[ "Jack Johnson (musician)", "Charity", "How is Jack Johnson involved in Charity ?", "Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental,", "Did he donate any money to charity ?", "2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate:", "Did he help raise any money for other catastrophes ?", "raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan", "Did he ever tour and play music for charity ?", "After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund.", "Are there any other interesting aspects about this article?", " Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works" ]	C_391fe88f5f84425497f5f067ae578f28_0	What is Little Kids Rock ?	6	What is Little Kids Rock?	Jack Johnson (musician)	In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tohoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: CANNOTANSWER	He also decorated a guitar for Little Kids Rock to auction to raise funds for its program.	Jack Hody Johnson (born May 18, 1975) is an American singer-songwriter, multi-instrumentalist, actor, record producer, documentary filmmaker, and former professional surfer. Johnson is known primarily for his work in the soft rock and acoustic pop genres. In 2001, he achieved commercial success after the release of his debut album, Brushfire Fairytales. Johnson has reached number one on the Billboard 200 chart with his albums Sing-A-Longs and Lullabies for the Film Curious George in 2006, Sleep Through the Static in 2008, To the Sea in 2010 and From Here to Now to You in 2013. His album In Between Dreams peaked at number two on the chart in 2005 and again in 2013. Johnson is active in environmentalism and sustainability, often with a focus on the world's oceans. Johnson and his wife Kim created the Johnson Ohana Charitable Foundation and the Kōkua Hawaii Foundation. In 2008, Johnson adopted the concept of greening (reduce and reuse), and donated 100% of the proceeds of the Sleep Through the Static tour to the Johnson Ohana Charitable Foundation. Similarly, the proceeds from the 2010 To the Sea album tour went to All at Once, a Johnson-backed collaboration of greening charities promoting fan involvement. Early life The son of well-known surfer Jeffery Johnson, Jack was born and raised on the North Shore of Oahu, Hawaii. He began to learn how to surf at the age of 5. At 17, he became the youngest invitee to make the finals of the Pipeline Masters, one of surfing's most prestigious events, on Oahu's North Shore. One week later, however, his stint as a professional surfer ended when he suffered a surfing accident at the Pipeline that put more than 100 stitches in his forehead and removed a few of his teeth; this later became the inspiration for the song "Drink the Water". He appeared as a surfer in The Endless Summer II in 1994. Jack Johnson graduated from Kahuku High School in Oahu. He would later attend the University of California, Santa Barbara, and graduated in 1997 with a B.A. in film studies. While Johnson learned the guitar at the age of 8 and started songwriting at the age of 12, his passion for music grew when he played rhythm guitar for the band Soil (not to be confused with the heavy metal band of the same name) in college. In 1994, Zach Gill's band, Django Reinhardt, released a CD that quickly made Django a favorite band of the Isla Vista party scene at UCSB. Django was the rival of Jack Johnson's band Soil, but Gill and Johnson developed a strong friendship, eventually becoming bandmates in later years. While with Soil at UCSB, Johnson opened for then relatively unknown acts such as Sublime and Dave Matthews with far-from-sold-out crowds at the venues. Johnson credits his songwriting influences as Bob Dylan, Jimi Hendrix, Radiohead, Otis Redding, G. Love and Special Sauce, Ben Harper, Sublime, The Beatles, Bob Marley, Neil Young, and A Tribe Called Quest. Johnson names Jimi Hendrix as his all-time favorite guitarist. Career 2000–03: Brushfire Fairytales and On and On Jack Johnson's big break was writing and contributing vocals for the song "Rodeo Clowns" which was featured on G. Love's 1999 album Philadelphonic. The song would later become the most famous single on the album. Johnson was introduced to G. Love by a mutual friend of Johnson who was shooting surf films with him at the time. After hearing "Rodeo Clowns", G. Love saw Johnson's potential and effortless style and invited him to record with him. That led to the now-famous "Rodeo Clowns" recording, launching Johnson's career. In addition to his later success as a musician, Johnson is also an accomplished filmmaker. Johnson directed the surf films Thicker Than Water (2000) and The September Sessions (2002), in which he also starred. Both movie soundtracks were also products of Johnson. Johnson also starred in the 2004 surf film A Brokedown Melody. Suela released a four track demo that caught the attention of Ben Harper's producer, J. P. Plunier, who worked with Johnson to produce his debut album Brushfire Fairytales during December 2000 with Harper and his Weissenborn lap steel guitar making a guest appearance. Brushfire Fairytales was released on February 1, 2001, and led to Johnson becoming the opening act in late February 2001 for the last twenty-three cities of Ben Harper's "Innocent Criminals" tour of the United States. Johnson went back into the studio with Adam Topol (drums, percussion) and Merlo Podlewski (bass), who played on Brushfire Fairytales, and Mario Caldato Jr on production duties, to record his second full-length album On and On. It was the first album to be recorded at Johnson's Mango Tree Studio in Johnson's home town of North Shore, Oahu, and the first to be released through The Moonshine Conspiracy Records. On and On was released on May 6, 2003. The Moonshine Conspiracy Records was later changed to Brushfire Records; Johnson turned the offices and studios of his Los-Angeles based record company into a model of eco-friendliness, with solar power, recyclable CD packaging, and power-saving air conditioners. 2004–09: In Between Dreams, Curious George, and Sleep Through the Static On April 3, 2004, Johnson and Ben Harper performed with Toots and the Maytals on Saturday Night Live (season 29, episode 16). In October 2004, Johnson returned to the Mango Tree Studio with Topol and Podlewski along with Zach Gill (of Animal Liberation Orchestra) playing accordion, melodica and piano, to record his follow-up to 2003's On and On. In Between Dreams was released on March 1, 2005. Sing-A-Longs and Lullabies for the Film Curious George is a soundtrack album by Johnson, released on February 7, 2006. The album also features Ben Harper, G. Love, Merlo Podlewski and Zach Gill. It was the first soundtrack to make it to number 1 since the Bad Boys II soundtrack in August 2003, and was the first soundtrack for an animated film to top the Billboard 200 since the Pocahontas soundtrack in July 1995. Johnson enlisted J.P. Plunier to produce his fourth full-length studio album, Sleep Through the Static. It was recorded using 100% solar energy at the Solar-Powered Plastic Plant studio in Los Angeles. The album featured Gill (keys), Podlewski (bass) and Topol (drums, percussion). Sleep Through the Static was released on February 1, 2008, and was followed by a world tour. A live album and DVD of Johnson's 2008 world tour, entitled En Concert, was released on October 27, 2009. The DVD was directed by Emmett Malloy. Johnson spearheaded the Kōkua Festivals (2004–2008 and 2010). Often occurring around Earth Day, these six years of festivals provided support for the Kōkua Hawai'i Foundation, which is a charitable organization that supports environmental education in the schools and communities of Hawaii. Kōkua Festival 2004/2005 was a DVD released by Jack Johnson Music that showcased the early Kōkua Festivals. He also participated, with Willie Nelson, Jackson Browne, Dave Matthews, Eddie Vedder and others, in the documentary Kōkua 2008: 5 Years of Change (2009), produced by Brushfire and Three Foot Giant Productions and shown on Sundance Channel. On April 17, 2012, preceding his 2012 Hawaiian Islands tour, he released the live Kōkua Festival compilation Best of Kōkua Festival. Johnson produced Animal Liberation Orchestra's fifth studio album, Man of the World, which was released February 9, 2010. The album also features vocals from Johnson. 2010: To the Sea On February 1, 2010, Johnson's official website announced that his fifth studio album, To the Sea, was in the recording process at the Mango Tree Studio, with a planned worldwide release during the first week of June 2010. The website also announced an accompanying European, Australian and New Zealand tour to coincide with the album's release on midnight 31 May. The first single from To the Sea was "You and Your Heart", released on April 6, 2010. While speaking with New Zealand radio station ZM, Johnson said he is constantly aiming to build relationships with local pro-environment, non-profit groups. "We try to raise money for a lot of these groups who are doing positive things in the community. We try to focus mostly on environmental education, just trying to get kids out into nature, supporting local farms and things like that." Johnson embarked on a world tour in 2010 with Paula Fuga, a Hawaiian vocalist and ukulele player, performing at a range of venues across the world including Europe, New Zealand, Australia, Canada, U.S., and Japan. 2012: Hawaiian Islands tour On February 22, 2012, Jack with John Cruz and Paula Fuga announced a 7-show acoustic tour of the Hawaiian Islands during April. At the Stan Sheriff Center on April 14, 2012, during the Pillars of Peace Hawai'i: Building Peace on a Foundation of Aloha, Johnson performed introductory music before Nobel Peace Laureate Tenzin Gyatso, the 14th Dalai Lama of Tibet, gave the speech "Educating the Heart". Better Together was one of several songs Jack performed. 2013–2018: Bonnaroo, From Here to Now to You, and All the Light Above It Too Johnson released From Here to Now to You with his band on September 17, 2013. On June 15, 2013, Jack and the Band performed as headliners at the 2013 Bonnaroo in Tennessee. He also played two acoustic concerts, one at London's Tabernacle in Notting Hill and the other at New York City's Allen Room at Lincoln Center overlooking Central Park, featuring songs from his upcoming album. The From Here to Now to You Tour ran from March through September 2014. In February 2017, Johnson announced a U.S. tour beginning in Chicago at the Huntington Bank Pavilion on Northerly Island on June 1 and ending with two Kōkua Hawai‘i Foundation benefit concerts at the Waikiki Shell on August 4 & 5. Also, he revealed plans to release an album in the summer 2017. Later, he added a September 10 concert for the 2017 Ohana Fest at Doheny State Beach, Dana Point, California. On September 8, 2017, Jack released his seventh studio album All the Light Above It Too, and peaked at number 13 on the Billboard chart's "Artist 100." In July 2018, Johnson released his greatest hits album "Jack Johnson: The Essentials" in Japan. 2019–present: This Warm December and Global Citizen In late 2019 Johnson released a single "New Axe" which was featured on the This Warm December Vol. 3 album. He then did a "Together at Home" Instagram Live stream concert on March 28, 2020. His concert was the third most watched on the Global Citizen YouTube. He then also performed at the "One World: Together at Home" special, and a live version of "Better Together" was featured on the One World: Together at Home album. On May 1, 2020 he was featured on Milky Chance's new single "Don't Let Me Down". On September 26, 2020 Johnson performed the opening set at Farm Aid: On the Road. On December 4, 2020, Johnson released a new single titled "The Captain Is Drunk". On April 16, 2021, Johnson released a song titled "If Ever" with Paula Fuga and Ben Harper. The song appeared on Fuga's new album Rain on Sunday, which will be featured on Johnson's record label. In December 2021, Johnson announced his new Summer Tour 2022, which will consist of 30 dates. Personal life On July 22, 2000, Johnson married his college girlfriend, Kim Baker. They have three children: two boys and a girl. Johnson lives on the North Shore of the island of Oahu in Hawaii. In an interview with Johnson, Ann Donahue from Billboard described Johnson's family life by saying "There is often trouble in balancing the life of an artist, environmentalist, and family man, but Johnson seems to have the niche for such a challenge. This time around, he's found a pace that agrees with him...bringing his family along so he can spend mornings with them sightseeing." Both Johnson and his wife decline to talk about or release any intimate information concerning their children. Charity In 2008, Johnson and his wife Kim created the Johnson Ohana Charitable Foundation, a non-profit public charity supporting environmental, art, and music education worldwide. Jack and Kim Johnson also founded the Kokua Hawaii Foundation in 2003. Johnson and his family work hard every year at festivals and concerts alike, to raise money for causes they feel are most important. Johnson recorded a cover of John Lennon's "Imagine" for the 2007 benefit album Instant Karma: The Amnesty International Campaign to Save Darfur, which was also included on the 2009 benefit album Rhythms del Mundo Classics. In talking about Johnson and his career choices, Rolling Stone wrote: "It is a typically generous move from Johnson, who has used his multi-platinum success to support causes he cares about." Although the Johnson Ohana Charitable Foundation is a non-profit organization that "focuses on environmental, arts and music education", it has raised more than $750,000 from 2009 to 2010 to give away. Johnson was in Osaka, Japan on his To the Sea 2010 World Tour at the time of the 2011 Tōhoku earthquake and tsunami in northern Japan. He was in a hotel with his family when it struck. After having to postpone the rest of his tour, he donated $50,000 to GlobalGiving's Japan Earthquake and Tsunami Relief Fund. Johnson's Ohana Charitable Foundation has also supported Little Kids Rock, a national nonprofit that works to restore and revitalize music education in disadvantaged U.S. public schools. He also decorated a guitar for Little Kids Rock to auction to raise funds for its program. On September 22, 2012, he donated his time to play a few songs at Farm Aid 2012 in Hershey, PA. Later in 2012, Jack donated $50,000 for Hurricane Sandy relief and added links on his website for others to donate: Vocal and music style Johnson combines poppy baritone vocals with laid-back acoustic instrumentation. His music has been variously described as folk rock, soft rock, acoustic rock, surf rock, trop rock, reggae, folk-pop, Jawaiian, acoustic pop, easy listening and blue-eyed soul. Discography Brushfire Fairytales (2001) On and On (2003) In Between Dreams (2005) Sing-A-Longs and Lullabies for the Film Curious George (2006) Sleep Through the Static (2008) To the Sea (2010) From Here to Now to You (2013) All the Light Above It Too (2017) Filmography List of awards and nominations received See also List of singer-songwriters References External links An Interview with G Love by The Mary Jane Experience 1975 births Living people 20th-century American singers 21st-century American singers American acoustic guitarists American male guitarists American film score composers American folk guitarists American folk singers American male singer-songwriters American philanthropists Record producers from Hawaii American rock guitarists American rock singers American rock songwriters American surfers Brit Award winners Brushfire Records artists American documentary film directors University of California, Santa Barbara alumni 20th-century American guitarists 21st-century American guitarists Guitarists from Hawaii American male film score composers 20th-century American male singers 21st-century American male singers Third Man Records artists Universal Records artists Singer-songwriters from Hawaii	true	[ "Little Kids Rock (LKR) is a charity in the United States that encourages and enables children to play popular music. It is a nonprofit 501(c)(3) organization and is based in Montclair, New Jersey. It provides free music instruction and instruments to public school districts across the country. Their 'Modern Band' curriculum is rooted in popular music (rock, blues, hip hop, reggae, country music, funk, etc.) and their teaching methods are rooted in the teaching music as a language, with a heavy emphasis on composition and improvisation. Charity Navigator has given the charity a 4-star rating.\n\nHistory\nThe program dates back to 1996 when David Wish, an elementary school teacher, began giving free guitar lessons to his students. After a short time, he started recruiting other volunteers to help him with his efforts, including celebrity supporters like Bonnie Raitt and Carlos Santana. In 2002, Little Kids Rock became a nonprofit organization, and in the following years, the programme was extended to New York City and several other public schools districts.\n\nSupporters\nLittle Kids Rock is supported by a significant number of prominent music industry figures.\n\nIn May 2015, Red Hot Chili Peppers drummer, Chad Smith, was given the \"Livin' The Dream Award\" at the first annual Little Kids Rock Family Jam benefit at Facebook's Menlo Park campus for his work to help expand public schoolchildren's access to music education. The benefit raised over $85,000 to help provide music education for students.\n\nAmp Up NYC Initiative\nBerklee College of Music and Little Kids Rock have partnered with the New York City Department of Education (NYCDOE) to expand the district's Modern Band music program to an additional 60,000 students in 600 city schools. The Amp Up NYC initiative is the largest private investment to date in a city's public school music education program. The donated services and resources for this initiative are estimated at $10 million. Berklee College of Music and Little Kids Rock will contribute teacher training, Modern Band curriculum, and thousands of new musical instruments. Outside contributors include the Walker Family Foundation and Bohemian Foundation. The program is already live in more than 70 classrooms.\n\nReferences\n\nExternal links \n Little Kids Rock's official web site\n\nEducational charities based in the United States\nCharities based in New Jersey\nMontclair, New Jersey", "The Little Dark Age Tour is a concert tour by American rock band MGMT, in support of their fourth studio album, Little Dark Age (2018). The tour began on January 30, 2018 in Berlin, Germany. The tour features several performances at music festivals, including NOS Alive, Splendour in the Grass, and Fuji Rock Festival.\n\nSet list\n\nThis set list is representative of the show on March 26, 2018, at Brooklyn Steel in Brooklyn, New York. It is not representative of all concerts for the duration of the tour.\n\n\"Little Dark Age\"\n\"When You Die\"\n\"Time to Pretend\"\n\"She Works Out Too Much\"\n\"Alien Days\"\n\"When You're Small\"\n\"Electric Feel\"\n\"James\"\n\"Weekend Wars\"\n\"TSLAMP\"\n\"Congratulations\"\n\"Me and Michael\"\n\"Kids\"\n\"The NeverEnding Story\" \nfeatures a reprise of \"Kids\" at the end\nEncore\n\"Flash Delirium\"\n\"Hand It Over\"\n\"Of Moons, Birds & Monsters\"\n\"Brian Eno\"\n\nShows\n\nCancelled shows\n\nNotes\n\nReferences\n\nExternal links\n \n\n2018 concert tours\n2019 concert tours\nMGMT concert tours" ]
[ "Weeb Ewbank", "Coaching career" ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	When did Ewbank start coaching?	1	When did Ewbank start coaching?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	true	[ "Ewbank is both a given name and a surname. Notable people with the name include:\n\nAs a given name\nAndrew Ewbank Burn (1864–1927), English clergyman\n\nAs a surname\nInga-Stina Ewbank (1932–2004), Swedish educator\nJohn Ewbank (climber) (1948–2013), Australian rock climber\nJohn Ewbank (composer) (born 1968), Dutch composer, lyricist, and record producer\nJohn Wilson Ewbank (1799–1847), English painter\nWeeb Ewbank (1907–1998), American football coach", "Ewbank is a United Kingdom company. Ewbank may also refer to:\n\nEwbank (name)\nEwbank da Câmara, municipality in Minas Gerais, Brazil\nEwbank scale, a numerical scale for grading the difficulty of rock climbing routes, named after John Ewbank\nEwbank, Singleton, heritage-listed building in Singleton, New South Wales, Australia\n\nSee also\nEubank (disambiguation)\nEwbanks, Illinois\nUbank Limited, a South African bank operating in the microfinance sector\nUBank, an Australian bank" ]
[ "Weeb Ewbank", "Coaching career", "When did Ewbank start coaching?", "Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School" ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	What did he coach?	2	What did Ewbank coach?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	the football, basketball and baseball teams.	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	false	[ "Safari Motorcoach Corporation (also known as Safari Coach) is a defunct American motor coach manufacturing company that was based in Oregon. The company's manufacturing plant was initially located in Harrisburg. The Safari Coach brand name was purchased by Monaco in 2002, however the Safari Coach name was no longer being used as of 2009.\n\nHistory\n\nSafari was founded in the 1980s by Mat Perlot and Curt Lawler, former employees of Beaver Motorcoach Corporation. The company started building diesel- and gas-powered Class A motorhomes. Safari bought Beaver in 1994 for $7.6 million after outbidding Country Coach. In 2002, Monaco Coach purchased Safari and Beaver brand names. In 2006 Beaver moved its assembly plant. Safari was able to keep its plant in Harrisburg open. Safari also shared ownership in Beaver's Bend assembly plant. In 2006 the Beaver plant moved and Safari had to vacate. Throughout his career, Mat Perlot, stayed in touch with his customer base. He knew that once you owned one of his coaches, you were a candidate for another, newer one down the road. One of the ways he did this was to create Safari International, a chapter of the Family Motor Coach Association. With over 4,000 members at one time Mat knew what they wanted in a motor coach and he was excited to market to their desires. Today, Safari International still exists, albeit much smaller in size, but they still maintain their beautify coaches with pride. They can be found at Safari-International.org\n\nBankruptcy And Closure Of Brand\n\nIn 2009, Monaco filed for Chapter 11 bankruptcy. The following year Navistar International purchased Monaco, but Navistar did not purchase the Safari Coach brand name, the Safari and Beaver brand names were no longer used.\n\nReferences\n\n1986 establishments in Oregon\n2009 disestablishments in Oregon\nManufacturing companies based in Oregon\nCompanies that filed for Chapter 11 bankruptcy in 2009\nDefunct companies based in Oregon\nRecreational vehicle manufacturers", "Oddvar Ingolf Hansen (11 April 1921 – 31 March 2011) was a Norwegian footballer and coach, who represented Brann in his hometown Bergen.\n\nAs a player, Hansen was a right-back who played 238 first-team games for Brann between 1940 and 1956. He was a losing cup finalist in 1950. He also won 19 caps for Norway between 1948 and 1954, and was a member of Norway's squad at the 1952 Olympics, but he did not play in any matches.\n\nAs a coach, Hansen became player-coach of Brann in 1955 when he took over from Englishman George Ainsley. He had three spells as Brann's head coach (1955–57, 1960–63 and 1965–68), and is best remembered for leading the club to consecutive league titles in 1962 and 1963. The 1963 title would turn out to be Brann's last league championship in 44 years, until the drought came to an end in 2007.\n\nIn addition to his achievements in football, Hansen was also an excellent table tennis player, who became national champion in 1947. He died on 31 March 2011, less than two weeks before what would have been his 90th birthday.\n\nReferences\n\n1921 births\n2011 deaths\nNorwegian footballers\nNorwegian football managers\nNorway international footballers\nSK Brann players\nSK Brann managers\nSportspeople from Bergen\nAssociation football defenders" ]
[ "Weeb Ewbank", "Coaching career", "When did Ewbank start coaching?", "Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School", "What did he coach?", "the football, basketball and baseball teams." ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	Did they win any awards or honors?	3	Did Ewbank's teams win any awards or honors?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	CANNOTANSWER	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	false	[ "The following table is a selected list of awards and honors given to the Japanese film director Akira Kurosawa.\n\nCategories\nThe list represents three categories of film awards or honors:\n Best Film awards given to a Kurosawa-directed film, whether Kurosawa directly received the award or not (including \"Foreign Film\" awards);\n Best Director or Best Screenplay awards to Kurosawa for a Kurosawa-directed film;\n Career achievement awards.\n\nFor reasons of space, two categories of awards have been excluded from the table below:\n Nominations for awards given to either Kurosawa himself or to films he directed which he or the film did not subsequently win (e.g., the nomination of Throne of Blood for the Venice Film Festival Golden Lion award in 1957; his own nomination for Best Director for Ran at the 58th Academy Awards);\n Awards given to cast members of Kurosawa-directed films, or to crew members other than Kurosawa (e.g., Toshiro Mifune’s Best Actor prize for Yojimbo at the 1961 Venice Film Festival; Emi Wada’s Oscar for Ran at the 1985 Academy Awards).\n\nData\nThe information in the table is derived from the IMDb Akira Kurosawa awards page and the IMDb awards pages for the individual films, supplemented by the filmography by Kurosawa’s biographer, Stuart Galbraith IV, unless otherwise noted. \n\nKey: (NK) = Not known; (P) = Posthumous award\n\nTable\n\nReferences\n\nNotes\n\nCitations\n\nSources\n\n \n \n\nAwards And Honors\nKurosawa, Akira", "This is a list of major awards and honors won by members of the Nebraska Cornhuskers baseball team, which represents the University of Nebraska–Lincoln in the Big Ten Conference of NCAA Division I. The program began play in 1889.\n\nNebraska has been to 19 NCAA baseball tournaments and advanced to four super regionals (2000, 2001, 2002, 2005) and three College World Series (2001, 2002, 2005). The Cornhuskers have won eight regular season conference championships (1929, 1948, 1950, 2001, 2003, 2005, 2017, 2021) and four conference tournament championships (1999–2001, 2005). They have had eighteen 40-win seasons, including nine since 1999, as well as three 50-win seasons. The Cornhuskers won the program's first Big Ten championship in 2017.\n\nNational awards\n\nNCBWA District Player of the Year\nShane Komine – 2000\nDan Johnson – 2001\nJeff Leise – 2002\nMatt Hopper – 2003\nAlex Gordon – 2004, 2005\nLuke Gorsett –2006\n\nAll-Americans\nNebraska has received a combined 103 All-America certificates from the ABCA, Baseball America, Baseball Weekly, Collegiate Baseball, NCBWA, Perfect Game, and Sporting News. The program has also received fifteen first-team freshman All-America certificates.\n\nAcademic All-Americans\n\nCoSIDA Academic All-American of the Year\nJeff Leise – 2002, 2003'''\n\nCoSIDA Academic All-Americans\n\nConference Awards\n\nAll-Big Eight\n\nAll-Big 12\n\nAll-Big Ten\n\nSee also\nCollege baseball awards\nNebraska Cornhuskers academic honors and awards\n\nReferences\n\nHonors" ]
[ "Weeb Ewbank", "Coaching career", "When did Ewbank start coaching?", "Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School", "What did he coach?", "the football, basketball and baseball teams.", "Did they win any awards or honors?", "I don't know." ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	Did he coach anywhere else?	4	Did Ewbank coach anywhere else in addition to Van Wert High School?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	McGuffey High School, a private institution run by Miami University.	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	true	[ "\"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", "Grouvellina radama is a species of ground beetle in the subfamily Rhysodinae. It was described by R.T. & J.R. Bell in 1979.\nIt is native to Madagascar and it is unknown whether it lives anywhere else.\n\nReferences\n\nGrouvellina\nBeetles described in 1979" ]
[ "Weeb Ewbank", "Coaching career", "When did Ewbank start coaching?", "Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School", "What did he coach?", "the football, basketball and baseball teams.", "Did they win any awards or honors?", "I don't know.", "Did he coach anywhere else?", "McGuffey High School, a private institution run by Miami University." ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	Did he win any awards for coaching?	5	Did Ewbank win any awards for coaching?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents.	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	false	[ "Shaun Reid (born 13 October 1965) is an English former footballer. He is the younger brother of Peter Reid and played in a similarly hardworking and tough-tackling manner for Rochdale (in two spells), Preston North End, York City, Bury, Chester City (where he also held coaching roles) and Leigh RMI from 1983 to 2000. He has formerly been in charge at Prescot Cables and Warrington Town\n\nBrotherly Encounters\nOn-field meetings between Peter and Shaun were confined to pre-season matches, although when Peter was manager of Sunderland they met Shaun's Chester team in the League Cup second round over two legs in September 1998. Shaun had been out through injury for 14 months but returned just in time for the games, which ended in an unsurprising 4–0 aggregate success for Sunderland.\n\nBasement Boy\nUnusually, all of Shaun's 432 Football League appearances were made in the fourth tier (Division Four, later renamed Division Three and now known as League Two). He did not make any more appearances for Bury after they were promoted from Division Three in 1995–96. His debut had been a 1–0 win for Rochdale at Crewe Alexandra in January 1984.\n\nReid's final Football League appearance was as a late substitute for Chester in a 5–0 win over Mansfield Town on 25 March 2000, just six weeks before Chester themselves fell out of the league. He was strongly rumoured to be returning to Rochdale as manager when Graham Barrow was sacked but the job went to Steve Parkin instead. His only subsequent outing at a notable level was again as a substitute for Leigh RMI in a 2–0 Football Conference win over Scarborough in August 2000. He went on to become a football agent.\n\nCoaching and managerial career\nReid holds a UEFA B coaching badge and has had spells coaching at Swindon Town and Plymouth Argyle. In January 2012 he was appointed as manager at Prescot Cables before leaving in March 2012 to become manager at Warrington Town.\n\nIn the 2014–15 FA Cup, Reid took Warrington to the first round proper for the first time in their history, where they defeated Exeter City of League Two 1–0., In March 2016 Reid had his contract mutually terminated.\n\nHonours\n\nClub\nBury\nFootball League Third Division third place: 1995–96\n\nLeigh RMI\nPeter Swales Challenge Shield (1): 1999–2000\n\nReferences\n\nExternal links\n\n1965 births\nLiving people\nPeople from Huyton\nEnglish footballers\nAssociation football midfielders\nRochdale A.F.C. players\nPreston North End F.C. players\nYork City F.C. players\nBury F.C. players\nChester City F.C. players\nLeigh Genesis F.C. players\nEnglish Football League players\nNational League (English football) players\nChester City F.C. non-playing staff\nSwindon Town F.C. non-playing staff\nPlymouth Argyle F.C. non-playing staff\nEnglish football managers\nPrescot Cables F.C. managers\nWarrington Town F.C. managers", "Richard William Tonks (born 21 February 1951) is a former national New Zealand rowing coach and a former rower who won a silver medal at the 1972 Summer Olympics in Munich. Through his coaching career he has coached crews to a total of 25 World Championship medals—including thirteen gold—and a total of seven Olympic medals—six of which were gold.\n\nEarly life and rowing career \nDick Tonks' father, Alan Tonks, was an accomplished rower and coach, and it is presumed that his influence was a major factor in Dick's taking up rowing at Wanganui Boys' College at the age of thirteen. He first competed at the Wanganui Secondary Schools Regatta in 1965 and subsequently—coached by his father—rowed in the school's first eight for three years.\n\nIn 1970, back at the sport, he rowed for Otago in Dunedin and was able to earn a place on the national team in 1971. By 1972 he was stroking the New Zealand coxless four, alongside Ross Collinge, Dudley Storey and Noel Mills. The boat went on to win silver at the Munich Olympics, beaten by half a boat-length by the East German crew.\n\nCuriously, Tonks never won a national title, coming second in the single scull to Murray Watkinson in 1974 and never being part of a strong enough club to win in larger boats.\n\nCoaching career \nThough he coached while rowing, Tonks returned to coaching in 1989 when he was asked to coach a women's four at the Union club, in Wanganui. As well as drawing Tonks on the path to coaching success, this also led to his second marriage to Florence Matthews, a member of the four.\n\nIn 1994 world champion scullers Philippa Baker and Brenda Lawson asked Tonks to coach them in the double, leading to gold at Indianapolis, bronze at Tampere in 1995 and making the final at the Atlanta Olympics in 1996.\n\nAfter this, Tonks began coaching Rob Waddell, who would go on to win gold in the single scull at Cologne in 1998 and St Catharines in 1999 before taking the gold at the 2000 Sydney Olympics. Until 2000 and his move north to Karapiro, Tonks had treated coaching as a \"hobby,\" and was often working full-time, including work for the railways—\"pushing paper, 8 to 5\"—and nights spinning wool at the Cavalier Bremworth carpet factory.\n\nTonks has been influential in the careers of rowers such as Olympic medallists Caroline and Georgina Evers-Swindell, Mahé Drysdale, Nicky Coles, Juliette Haigh, Hamish Bond and Eric Murray. He has been the New Zealand rowing coach at the 1996 Summer Olympics in Atlanta, the 2004 Summer Olympics in Athens, the 2000 Summer Olympics in Sydney, the 2008 Summer Olympics in Beijing and the 2012 Summer Olympics in London. His contract with Rowing New Zealand was terminated in December 2015 after a public fallout over him having coached top Chinese rowers without having asked for permission from his employer. During the spat, Tonks said about Rowing New Zealand's chief executive Simon Peterson that he \"couldn't run a bloody corner dairy\". An arrangement was agreed on by which Tonks would continue to coach Drysdale and the women's double sculls boat (Eve MacFarlane and Zoe Stevenson) until the 2016 Summer Olympics in Rio de Janeiro in a private capacity. Drysdale won gold at the event, with was the sixth Olympic gold medal of one of Tonks' rowers.\n\nOn his coaching style, Tonks is reported to have said, \"good coaching is a dictatorship and I am a dictator.\" He later admitted to saying this during \"a very bad year.\" He also holds that his relationship with his athletes is a professional one, stating: \"I’m their coach, not their friend.\" Mahé Drysdale has agreed, citing this as the reason he did not invite Tonks to his wedding to Juliette Haigh in 2013. Dick Tonks currently coaches for the Canadian national team in their preparation for the Tokyo Olympics.\n\nAwards \nDick Tonks has won the Halberg Awards' \"Coach of the year\" five times—in 1999, 2004, 2005, 2009 and 2012; more than any other coach in the award's 27-year history—and has been named a finalist twelve times.\n\nHe has also been awarded \"World Rowing coach of the year\" at the World Rowing Awards three times—2005, 2010 and 2012—since its inception in 2002. Tonks is currently the only person to have won the award more than once.\n\nIn the 2003 New Year Honours, Tonks was appointed a Member of the New Zealand Order of Merit, for services to rowing.\n\nReferences\n\n\|-\n\n1951 births\nLiving people\nRowers from Whanganui\nNew Zealand male rowers\nOlympic rowers of New Zealand\nOlympic silver medalists for New Zealand\nRowers at the 1972 Summer Olympics\nOlympic medalists in rowing\nMembers of the New Zealand Order of Merit\nNew Zealand Olympic coaches\nRowing coaches\nMedalists at the 1972 Summer Olympics" ]
[ "Weeb Ewbank", "Coaching career", "When did Ewbank start coaching?", "Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School", "What did he coach?", "the football, basketball and baseball teams.", "Did they win any awards or honors?", "I don't know.", "Did he coach anywhere else?", "McGuffey High School, a private institution run by Miami University.", "Did he win any awards for coaching?", "a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents." ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	Where else did he coach?	6	Where else did Ewbank coach in addition to Van Wert and McGuffey High Schools?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	Naval Station Great Lakes	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	true	[ "Sergio Santos Hernández (born November 1, 1963) is an Argentine professional basketball coach who most recently served as the head coach of the Argentina national basketball team and Casademont Zaragoza of the Spanish Liga ACB.\n\nHead coaching career\n\nPro clubs\nAs a head coach, Hernández has won numerous titles over his career. They include: 6 Argentine League championships (2000, 2001, 2004, 2010, 2011, 2012), the South American League championship (2001), 3 Argentine Cups (2003, 2004, 2010), the Top 4 Tournament (2004), the South American Club Championship (2004), and 2 FIBA Americas League championships (2008, 2010).\n\nOn November 3, 2020, he has signed with Casademont Zaragoza of the Spanish Liga ACB.\n\nArgentina national team\nHernández was the head coach the senior men's Argentina national basketball team from 2005 to 2010. He succeeded Rubén Magnano in the position, and was the team's head coach at the 2006 FIBA World Championship, the 2008 FIBA Diamond Ball (where the team won the gold medal), the 2008 Summer Olympics (where the team won a bronze medal), and at the 2010 FIBA World Championship (where Argentina finished in 5th place).\n\nAfter his contract to coach the Argentina national team expired in 2010, Hernández did not accept the 4–6 years renewal offered by the Argentine Basketball Federation, therefore ending his tenure as the national team's head coach. He did, however, return to the team as an assistant coach for the 2012 Summer Olympics.\n\nHe then returned as the head coach of Argentina for the 2015 FIBA Americas Championship, where he led Argentina to a silver medal. He was also the head coach of Argentina at the 2016 Summer Olympics.\n\nIn 2019, he coached the Argentina´s team that won the 2019 Pan American gold medal in Lima.\n\nIn 2019, Hernandez coached the men's Argentina national basketball team at the 2019 FIBA Basketball World Cup, where he led Argentina to a silver medal; securing them a spot in the 2020 Summer Olympics.\n\nReferences\n\n1963 births\nLiving people\nArgentine basketball coaches\nArgentine expatriate basketball people in Brazil\nOlympic coaches\nSportspeople from Bahía Blanca", "Matt Shipway (born 11 September 1985) is a United States international rugby league footballer and coach of the Port Macquarie Sharks. He primarily plays as a .\n\nBackground\nShipway was born in Newcastle, New South Wales. He is of American descent through his grandparents.\n\nPlaying career\nIn 2006, Shipway captained the Port Macquarie Sharks to a premiership, before moving back to Newcastle two years later.\n\nAfter moving to Newcastle, Shipway signed to play for The Entrance Tigers, only for the team to fold before he could play a game.\n\nIn 2008, Shipway joined the Macquarie Scorpions in the Newcastle Rugby League.\n\nIn 2010, Shipway signed with the South Newcastle Lions, taking on the captain-coach role in 2011.\n\nIn 2012, Shipway was on standby for various games for the Newcastle Knights' New South Wales Cup team, as a possible fill-in for injuries.\n\nIn 2013, Shipway gave up the coaching side of his captain-coach role to concentrate more on his game.\n\nIn June 2013, Shipway played for the Newcastle Rebels representative team.\n\nIn October 2013, Shipway was named in the New South Wales Country Residents team to tour South Africa. Before the tournament, he credited his selection in the team to his decision to give up the coaching role at South Newcastle that year to concentrate on his game saying, \"I think I still played pretty good footy as the captain-coach, but the move allowed me to concentrate more on my game and the biggest thing was not having to worry about anyone else. As the captain-coach I'd have to turn up and watch the first two games and talk to the other coaches then go in the sheds and try and get everyone else ready for the game as well.\" He eventually had to leave the team mid-tour on 10 October 2013, as he was named in the United States 2013 Rugby League World Cup squad.\n\nShipway played in the United States 22-18 warm up game win over France where he scored a try, before playing 4 games in the World Cup tournament. His tour helped him develop a cult following back in Port Macquarie, where his friend Joe Cudmore started the Facebook page \"The red-headed Sonny Bill Williams\".\n\nIn 2014, Shipway joined the Boston Thirteens in the USA Rugby League.\n\nIn 2015, Shipway became the coach of the Port Macquarie Sharks.\n\nIn 2018, Shipway coached and played in Port Macquarie's first premiership win in 20 years.\n\nReferences\n\nExternal links\n\n2017 RLWC profile\n\n1985 births\nLiving people\nAustralian people of American descent\nAustralian rugby league coaches\nAustralian rugby league players\nBoston 13s players\nMacquarie Scorpions players\nNewcastle rugby league team players\nRugby league players from Newcastle, New South Wales\nRugby league second-rows\nSouth Newcastle Lions players\nUnited States national rugby league team players" ]
[ "Weeb Ewbank", "Coaching career", "When did Ewbank start coaching?", "Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School", "What did he coach?", "the football, basketball and baseball teams.", "Did they win any awards or honors?", "I don't know.", "Did he coach anywhere else?", "McGuffey High School, a private institution run by Miami University.", "Did he win any awards for coaching?", "a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents.", "Where else did he coach?", "Naval Station Great Lakes" ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	When did he join the AFL?	7	When did Ewbank join the AFL?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	CANNOTANSWER	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	false	[ "Jason Ramsey (born 24 January 1975) is a former Australian rules footballer who played for Fitzroy in the Australian Football League (AFL) in 1996. He was recruited from the Port Adelaide Football Club (SANFL) in the South Australian National Football League (SANFL) with the 4th selection in the 1995 Pre-season Draft. \n\nWhen Fitzroy merged with the Brisbane Bears at the end of the 1996 AFL season, Ramsey was not one of the eight players selected by Brisbane to join the new Brisbane Lions and he instead entered the 1996 AFL Drafts, where he was selected by with the 22nd selection of the 1997 Rookie Draft. Despite being elevated to Richmond's senior list in 1997, he did not play a senior game for Richmond. He missed the entire 1998 season due to a dislocated shoulder and was delisted at the end of the 1999 season.\n\nReferences\n\nExternal links\n\nLiving people\n1975 births\nFitzroy Football Club players\nPort Adelaide Football Club (SANFL) players\nPort Adelaide Football Club players (all competitions)\nAustralian rules footballers from South Australia", "Robert McMahon (born 28 July 1977) is a former Australian rules footballer who played for Fitzroy in the Australian Football League (AFL) in 1996. He was recruited from the Gippsland Power in the TAC Cup with the 6th selection in the 1994 AFL Draft. When Fitzroy merged with the Brisbane Bears at the end of the 1996 AFL season, McMahon was not one of the eight players selected by Brisbane to join the new Brisbane Lions and he instead entered the 1996 AFL Draft, where he was selected by with the 51st selection. Despite playing well for the Hawthorn reserves side, he was never selected to play another AFL game.\n\nReferences\n\nExternal links\n\nLiving people\n1977 births\nFitzroy Football Club players\nWilliamstown Football Club players\nAustralian rules footballers from Victoria (Australia)" ]
[ "Weeb Ewbank", "Coaching career", "When did Ewbank start coaching?", "Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School", "What did he coach?", "the football, basketball and baseball teams.", "Did they win any awards or honors?", "I don't know.", "Did he coach anywhere else?", "McGuffey High School, a private institution run by Miami University.", "Did he win any awards for coaching?", "a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents.", "Where else did he coach?", "Naval Station Great Lakes", "When did he join the AFL?", "I don't know." ]	C_34dff81c7f174549bbd3f9af7f49dbb4_1	What else is significant about his coaching career?	8	What else is significant about Ewbank's coaching career in addition to the High Schools and Naval Station Great Lakes positions?	Weeb Ewbank	Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win-loss record of 71-21 in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season - 1936 - where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes near Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946-47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Washington University Bears to a 14-4 record in two seasons. The team had nine wins and just one loss in 1948. CANNOTANSWER	Ewbank guided the Washington University Bears to a 14-4 record in two seasons.	Wilbur Charles "Weeb" Ewbank (May 6, 1907 – November 17, 1998) was an American professional football coach. He led the Baltimore Colts to consecutive NFL championships in 1958 and 1959 and the New York Jets to victory in Super Bowl III in January 1969. He is the only coach to win a championship in both the National Football League (NFL) and American Football League (AFL). Raised in Indiana, Ewbank attended Miami University in Ohio, where he was a multi-sport star who led his baseball, basketball, and football teams to state championships. He immediately began a coaching career after graduating, working at Ohio high schools between 1928 and 1943, when he entered the U.S. Navy during World War II. While in the military, Ewbank was an assistant to Paul Brown on a service football team at Naval Station Great Lakes outside of Chicago. Ewbank was discharged in 1945 and coached college sports for three years before reuniting with Brown as an assistant with the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). The Browns won all four AAFC championships. They joined the NFL with the league's merger in , winning the championship that year. Ewbank left the Browns after the 1953 season to become head coach of the Colts, a young NFL team that had struggled in its first season. In 1956, Ewbank brought in quarterback Johnny Unitas, who quickly became a star and helped lead a potent offense that included wide receiver Raymond Berry and fullback Alan Ameche to an NFL championship in 1958. The Colts repeated as champions in 1959, but the team's performance slipped over the next three seasons and Ewbank was fired three weeks after their final game of the 1962 season. He was soon picked up by the Jets, another struggling team in the AFL. While his first few years were unsuccessful, Ewbank helped build the Jets into a contender after signing Alabama quarterback Joe Namath in 1965. The Jets won the AFL championship in 1968 and went on to win Super Bowl III. Ewbank, who was known as a mild-mannered coach who favored simple but well-executed strategies, retired after the 1973 season and settled in Oxford, Ohio. He was inducted into the Pro Football Hall of Fame in , and died twenty years later in Oxford on November 17, 1998, the 30th anniversary of the "Heidi Game". Early years Born in Richmond, Indiana, Ewbank's father was a grocer who owned two stores in the small city. He attended Morton High School and played quarterback on the football team, was an outfielder in baseball, and was a member of the basketball team. He captained the football and basketball teams when he was a senior. As a teenager, Ewbank and his father drove to Dayton, Ohio, see early football star Jim Thorpe and the Canton Bulldogs play. One of his younger brothers could not pronounce "Wilbur" correctly and called him "Weeb", the nickname he was known by for the rest of his life. After graduating from high school in 1924, Ewbank attended Miami University in Oxford, Ohio. He played on the school's football team as a quarterback under head coach Chester Pittser. He was also the center fielder on the baseball team and a forward on the basketball team. While Ewbank was small in stature – he was only and weighed – he was one of Miami's best athletes. He shared quarterback duties with Eddie Wohlwender on a squad that finished with an 8–1 win–loss record and won the Ohio Athletic Conference championship in 1927, his senior year. Miami's baseball team also won the Ohio Conference when he was a sophomore and took the Buckeye Athletic Association title when he was a senior. The basketball team won a state title when he was a junior. Ewbank was a member of Phi Delta Theta fraternity while at Miami. Coaching career Shortly after graduating from Miami in 1928, Ewbank took his first coaching job at Van Wert High School in Van Wert, Ohio, overseeing the football, basketball, and baseball teams. He remained there until 1930, when he moved back to Oxford and took a position coaching football and basketball at McGuffey High School, a private institution run by Miami University. He also taught physical education at Miami. Ewbank took a break from coaching in 1932 to pursue a master's degree at Columbia University in New York City and filled in as Miami's basketball coach in 1939 after the previous coach left for another job, but otherwise held his coaching positions at McGuffey until 1943. Under his tutelage, the school's Green Devils football team had a win–loss record of in thirteen seasons. This included a streak of three undefeated seasons between 1936 and 1939 and one season – 1936 – where the team did not allow any scoring by opponents. Ewbank joined the U.S. Navy in 1943 as American involvement in World War II intensified. He was assigned for training to Naval Station Great Lakes north of Chicago, where Paul Brown, a former classmate who succeeded him as Miami's starting quarterback, was coaching the base football team. Brown had become a successful high school coach in Ohio before being named head football coach at Ohio State University in 1941. At Great Lakes, Ewbank was an assistant to Brown on the football team and coached the basketball team. Following his discharge from the Navy at the end of the war in 1945, Ewbank became the backfield coach under Charles "Rip" Engle at Brown University. He also was head coach of the basketball team in the 1946–47 season, his only one at Brown. Ewbank's next stop was as head football coach at Washington University in St. Louis for the 1947 and 1948 seasons. Ewbank guided the Bears to a 14–4 record in two seasons, (5–3 in 1947, 9–1 in 1948). Cleveland Browns Despite his success in St. Louis, Ewbank quit his job when he was given the chance to serve as an assistant under Paul Brown, who by 1949 was coaching the Cleveland Browns, a professional team in the All-America Football Conference (AAFC). Ewbank was brought in to oversee the Browns' linemen after backfield coach John Brickels quit to take a job at Miami University and tackles coach Bill Edwards left to become the head coach at Vanderbilt University. Ewbank expected to coach quarterbacks, having played the position in college, but Brown insisted that he oversee the tackles. "He knew I'd have to work very hard at this job and bring a fresh approach", Ewbank said many years later. Led by quarterback Otto Graham, fullback Marion Motley, and ends Dante Lavelli and Mac Speedie, the Browns won the AAFC championship in 1949, their fourth straight title. The AAFC folded after the season, and the Browns were absorbed by the more established National Football League (NFL). The team finished the 1950 season with a 10–2 record and won the NFL championship by beating the Los Angeles Rams. The Browns reached the NFL championship each year between 1951 and 1953, but lost once to the Rams and twice to the Detroit Lions. Baltimore Colts Ewbank got his first professional head coaching job in early 1954 for the NFL's Baltimore Colts, a franchise that had started play the previous year. While it was a step up for Ewbank, Brown encouraged him not to take the job and told him he would not be successful. After Ewbank took the job, Brown accused him of passing information about the Browns' draft targets to the Colts. Brown had insisted that he stay with the Browns through the 1954 draft, and NFL commissioner Bert Bell agreed. During the draft, Ewbank allegedly sent the names of players Brown liked to the Colts through Baltimore sportswriter John Steadman, including end Raymond Berry, who went on to have a long and successful career. The Colts struggled in Ewbank's first years as head coach, posting records of 3–9 in 1954 and 5–6–1 in 1955. In 1956, however, the team signed quarterback Johnny Unitas after he was cut by the Pittsburgh Steelers. Ewbank brought in Otto Graham to tutor Unitas, who complemented an improving team that included Berry, fullback Alan Ameche, halfback Lenny Moore and defensive back Don Shula. The Colts began the 1956 season with a 3–3 record, and calls for Ewbank's firing intensified – just as they had the previous year. Team owner Carroll Rosenbloom supported him, however, saying that while he had considered a coaching change in the past, Ewbank could stay with the Colts "forever – or until he fouls up". When he came to Baltimore, Ewbank had promised to create a system like Paul Brown's in Cleveland, but said he would need time to turn the team into a winner. The Colts finished 1956 with a 5–7 record. The team made a turnaround the following year, posting a 7–5 record, but still finished third in the NFL's Western Division behind the San Francisco 49ers and Detroit Lions. The team improved further in 1958, winning the Western Division with a 9–3 record and earning a spot in the NFL championship game against the New York Giants. Led by Unitas, Berry and Ameche, the team won the game 23–17 in sudden-death overtime. Often referred to as "The Greatest Game Ever Played", the championship was watched by a large national audience on television and helped make professional football one of the most viewed sports in the U.S. Ewbank was named coach of the year by the Associated Press and United Press International after the season. Baltimore finished with a 9–3 record for the second year in a row in 1959 and repeated as NFL champions. The team's performance fell off in subsequent years, however, and after posting a 7–7 record in 1962, Rosenbloom fired Ewbank three weeks later. He was succeeded by former player Don Shula, a 33-year-old assistant coach with the Lions. Throughout his career, Ewbank was seen as a humble coach who had a good sense of humor and tried to stay out of the spotlight. He could also be harsh with his players, however. Before the 1958 championship game, he gave a speech telling his stars they needed to improve and had barely made the team. Unitas, he said, was obtained "with a seventy-five-cent phone call" and Ameche wasn't liked or wanted. Ewbank was not universally liked by his players. Second-string running back Jack Call later said the team won "in spite of, not because of" Ewbank. Other players saw him as overly easygoing, saying that while he was able to build teams up, he became too relaxed once he reached the top. Hall of Famer Raymond Berry stated in his book All the Moves I Had "What it amounts to is that Ewbank knew exactly what he wanted his team to do and how to get them to do it well... Being under Weeb's system was the number one reason why Unitas and I had the careers we had." Ewbank remains the longest tenured head coach in the history of the Baltimore Colts. New York Jets A five-man syndicate led by Sonny Werblin bought the New York Titans franchise of the American Football League (AFL), an NFL competitor, as part of bankruptcy proceedings in 1963. Shortly thereafter, the team changed its name to the New York Jets and hired Ewbank in April as its head coach and general manager. Ewbank took over a team that had not had a winning record in its first three years of existence and hired a coaching staff that included Chuck Knox, Walt Michaels, and Clive Rush, all future head coaches. When he was hired, Ewbank said he had a five-year plan to succeed in Baltimore, and "I don't see why we can't build a winner here in five years." While the Jets won their first three games with Ewbank as coach, his first several years were unsuccessful. The team, meanwhile, had to deal with numerous logistical issues stemming from its second-tier status among New York's sports teams. The Jets switched stadiums from the Polo Grounds in Manhattan after the 1963 season to the new Shea Stadium in Queens, but shared it with baseball's New York Mets. Concerned about possible damage to the stadium's natural turf, the Mets would not allow the Jets to practice at Shea, forcing the team to hold practices at the Rikers Island jail complex. The Jets posted 5–8–1 records for three consecutive seasons (1963–1965). Despite limited on-field success in Ewbank's first years, the Jets began to put the pieces of a winning team in place. In 1964, they outbid cross-town NFL rival New York Giants for Matt Snell, a top running back prospect out of Ohio State. Linebacker Larry Grantham became a consistent All-Pro selection and safety Dainard Paulson had 12 interceptions in 1964, which remains a team record. An even bigger coup came in 1965, when the Jets signed Joe Namath, a star quarterback at Alabama under coach Bear Bryant. The St. Louis Cardinals selected Namath as the twelfth overall pick of the NFL draft, but Namath later said he chose the Jets in part because he got along with Ewbank and was impressed by how he had developed Unitas while with the Colts. Namath quickly became a star for the Jets. The team improved to 6–6–2 in 1966 and 8–5–1 in 1967, when Namath became the first to throw for more than 4,000 yards in a single season. By 1968, Ewbank's team was becoming one of the top teams in the AFL. All of its main starters returned from the year before, and the Jets brought in All-Pro guard Bob Talamini from the Houston Oilers. The Jets started with a 3–2 record, but won eight of nine to finish the regular season 11–3 and win the AFL East Division by four games. One of the Jets' losses in 1968 was on the road in mid-November against the Oakland Raiders that later came to be known as the Heidi Game. After Jim Turner kicked a field goal for the Jets that gave them a 32–29 lead with just over a minute left to play, NBC cut away from the game to a scheduled broadcast of the children's movie Heidi. The Raiders went on to win the game by scoring two touchdowns in the final 42 seconds. Ewbank's wife Lucy called the locker room to congratulate him on the win, only to learn the team had lost. The Jets' first-place finish in their division in 1968 set up a rematch with the Raiders – the defending AFL champions and winners of the AFL West – for the league championship. Namath threw three touchdowns as the Jets won 27–23, putting them through to the third World Championship game, a matchup between the winner of the AFL and NFL now known as Super Bowl III. The Jets were 17-point underdogs to the Colts, who had continued to succeed after Ewbank's departure with Unitas at quarterback and Shula as head coach. Nevertheless, Namath publicly guaranteed a Jets win before the game, which rankled Ewbank. Ewbank liked that the Colts were favored, thinking it would make them complacent, and did not want to agitate them by boasting about the Jets' chances. Ewbank and the Jets played an unconventional game against the Colts, opting for an uncharacteristically conservative strategy in part because star wideout Don Maynard was nursing a hamstring injury. Also on film, the Jets noticed the Colts while talented on defense, were very predictable. They did not shift out of a defense once it was called from the sideline. So Namath called most of the plays at the line of scrimmage after viewing the Colts' defense instead of calling the offensive plays in the huddle. The tactic worked against the Colts, and the Jets built a 16–0 lead going into the game's fourth quarter by relying on Snell's running and Namath's ability to complete short passes against a steady Colts' blitz. Snell had 121 yards on 30 carries. The Jets' defense, meanwhile, held back a Colts offense that scored 460 points throughout the team's 15–1 regular- and post-season record up to that point. New York intercepted four Baltimore passes, three thrown by Earl Morrall, who was substituting for an injured Unitas and one by Unitas who entered the game in the second half. The Jets won the game 16–7, aided by Ewbank's familiarity with many of the Colts' players and strategies. The Jets had a 10–4 record in 1969, but lost a divisional playoff to the Kansas City Chiefs. Ewbank was named the AFL's coach of the year after the season, but the team did not post a winning record in any of the following four years. In December 1972, Ewbank announced that he would retire as head coach after the 1973 season, saying he wanted to spend more time with his wife. He continued as general manager, however, and was named the team vice president. Charley Winner, the former coach of the St. Louis Cardinals and the husband of Ewbank's daughter Nancy, was appointed as his replacement in early 1973. The 1973 Jets season is the subject of the book The Last Season of Weeb Ewbank by Paul Zimmerman. After the team lost seven of its first eight games in 1974, Ewbank resigned as vice president and general manager. He agreed to coach quarterbacks at Columbia University in 1975. Later life and honors Ewbank moved back to Oxford in retirement and wrote a book in 1977 called Football Greats. He was inducted into the Pro Football Hall of Fame in 1978, but said later that year that he was glad to be out of coaching. With the expansion of the NFL, he said, talent had become diluted and fielding a good team was difficult. Coaches, meanwhile, customarily took the blame for a team's failures, and the sport had become too violent. Ewbank's coaching style was laid-back but efficient, combining his mild personality with an orderliness inherited from Paul Brown. "Weeb combined a low-key style with a flair for the most dramatic of accomplishments", former NFL commissioner Paul Tagliabue said in 1998. "He led two of the legendary teams during the era of pro football's greatest growth. But he preferred to stay in the background and let the players take the credit." He favored well-practiced execution of a limited number of plays over complicated offensive and defensive systems. Paul Brown "had the exact same approach: Don't do too much, but what you do, execute it flawlessly", Raymond Berry said in 2013, adding that the Colts' 1958 championship team had only six passing plays. Ewbank is the only man to coach two professional football teams to championships, and the only man to win the NFL championship, the AFL championship and a Super Bowl. His regular-season career record in the NFL and AFL was 130–129–7, and his playoff record was 4–1. Ewbank was selected as the head coach on the AFL All-Time Team in 1970. In addition to the Pro Football Hall of Fame, he was inducted into the Miami University Athletic Hall of Fame in 1969, the Indiana Football Hall of Fame in 1974 and the Talawanda School District Athletic Hall of Fame in 1999. He also won the Walter Camp Distinguished American Award in 1987 and was inducted into the Jets' Ring of Honor in 2010. Ewbank suffered a dislocated hip in the aftermath of the Jets' 1968 AFL championship game win, and had other health issues in his later years. He broke his leg and had two hip replacements in the 1990s. He also had myasthenia in his right eye. Ewbank died at 91 on November 17, 1998, the 30th anniversary of the "Heidi Game", after suffering from heart problems. He and his wife Lucy had three daughters. His daughter Nancy married Charley Winner. Head coaching record College football AFL/NFL Coaching tree Assistants under Weeb Eubank who became NCAA or NFL head coaches: Irwin Uteritz: Washington University Bears (1949–1952) John Bridgers: Baylor Bears (1959–1968) Don Shula: Baltimore Colts (1963–1969), Miami Dolphins (1970–1995) Frank Lauterbur: Toledo Rockets (1963–1970), Iowa Hawkeyes (1971–1973) Bob Shaw: Saskatchewan Roughriders (1963–1964), Toronto Argonauts (1965–1966), Otterbein College (1985–1987) Clive Rush: New England Patriots (1969–1970), Merchant Marine Academy (1976) Don McCafferty: Baltimore Colts (1970–1972), Detroit Lions (1973) John Sandusky: Baltimore Colts (1972) Chuck Knox: Los Angeles Rams (1973–1977), (1992–1994), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991) Charley Winner: St. Louis Cardinals (1966–1970) New York Jets (1974–1975) Joe Thomas Baltimore Colts (1974) Walt Michaels: New York Jets (1977–1982), New Jersey Generals (1983–1985) Buddy Ryan: Philadelphia Eagles (1986–1990), Arizona Cardinals (1994–1995) See also American Football League players, coaches, and contributors List of National Football League head coaches with 50 wins References Bibliography External links Cradle of Coaches Archive: A Legacy of Excellence—Weeb Ewbank, Miami University Libraries 1907 births 1998 deaths American football quarterbacks American men's basketball players Baltimore Colts head coaches Basketball coaches from Indiana Brown Bears football coaches Brown Bears men's basketball coaches Columbia Lions football coaches Great Lakes Navy Bluejackets football coaches Miami RedHawks baseball players Miami RedHawks football players Miami RedHawks men's basketball coaches Miami RedHawks men's basketball players New York Jets head coaches New York Jets executives Washington University Bears football coaches National Football League general managers College men's basketball head coaches in the United States High school baseball coaches in the United States High school basketball coaches in Ohio High school football coaches in Ohio American Football League All-Time Team Pro Football Hall of Fame inductees Super Bowl-winning head coaches Sportspeople from Richmond, Indiana Burials at Oxford Cemetery, Oxford, Ohio United States Navy personnel of World War II	false	[ "\"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", "Seyyed Mohsen Shah Ebrahimi (in Persian: سید محسن شاه ابراهیمی) is an art director, costume designer and actor. Born in 1954, Iran. Studied art directing in the Faculty of Fine Arts in Florence, Italy (1980). He started his career with By the Ponds (1986, Y. Noasri), received the prize in FFF for The 'Night Nurse' (1987, M.-A. Najafi). As well as being a prominent art director, he has two films as actor in his career.\n\nWorks \n In the Wind's Eye, 1988\n Avinar (co)\n What Else Is New? (co), 1991\n The Snowman, 1994 (screened in 1997)\n Iran Is My Land\n Mummy 3, 1998 (Iranian made)\n Traveler of Rey , 2000\n\nExternal links\n \n\nIranian art directors\nPeople from Khorramshahr\n1954 births\nLiving people" ]
[ "Exile (American band)", "1960s - Early rock and roll years" ]	C_935594c417804b9087cb17615b43483f_1	When did they form?	1	When did Exile form?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	1963,	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	true	[ "Sagawa Express Osaka Soccer Club(佐川急便大阪サッカー部) was a Japanese football club based in Higashisumiyoshi-ku, Osaka.\n\nHistory \nThey were founded in 1965 and played in the Japan Football League (JFL) from 2002 to 2007, when they merged with Sagawa Express Tokyo S.C. to form what is now Sagawa Shiga F.C. As the name implies they were run by Sagawa Express, a Japanese transportation business.\n\nPrior to joining the JFL the team played in the Kansai Soccer League, in which they won four championships. They joined the JFL in 2002, one year after their Tokyo counterparts did. They did not repeat their earlier success after the switch. In 2007 the team announced the merger with Sagawa Express Tokyo to form Sagawa Express S.C., now Sagawa Shiga F.C., based in Shiga Prefecture.\n\nHonors \n Kansai Soccer League: 4\n1997, 1998, 2000, 2001\n\nExternal links\n Hikyaku Kaido (in Japanese)\n \n\nAssociation football clubs established in 1965\nAssociation football clubs disestablished in 2007\nDefunct football clubs in Japan\n1965 establishments in Japan\n2007 disestablishments in Japan\nJapan Football League clubs", "This is a list of Latin words with derivatives in English (and other modern languages).\n\nAncient orthography did not distinguish between i and j or between u and v. Many modern works distinguish u from v but not i from j. In this article, both distinctions are shown as they are helpful when tracing the origin of English words. See also Latin spelling and pronunciation.\n\nNouns and adjectives\nThe citation form for nouns (the form normally shown in Latin dictionaries) is the Latin nominative singular, but that typically does not exhibit the root form from which English nouns are generally derived.\n\nVerbs\n\nPrepositions and other words used to form compound words\n\nSee also\n\nNotes\n\nReferences\n \n \n \n \n \n\n List of\nHistory of the English language\nLatin" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "When did they form?", "1963," ]	C_935594c417804b9087cb17615b43483f_1	How did they form?	2	How did Exile form?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	a group of high school students started a rock and roll band in Richmond, Kentucky.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "In United States military contracts, the contract data requirements list (CDRL, pronounced SEE-drill) is a list of authorized data requirements for a specific procurement that forms a part of the contract.\n\nOverview\nThe CDRL identifies what data products are to be formally delivered to the government by a contractor, as well as when and possibly how (e.g. format and quantity) they are to be delivered. The list typically consists of a series of individual data items, each of which is recorded on a Data Item form (DD Form 1423) containing the tailored data requirements and delivery information. The CDRL is the standard format for identifying potential data requirements in a solicitation, and deliverable data requirements in a contract. The purpose of the CDRL is to provide a standardized method of clearly and unambiguously delineating the government's minimum essential data needs. The CDRL groups all of the data requirements in a single place rather than having them scattered throughout the solicitation or contract.\n\nEach CDRL data item should be linked directly to statement of work (SOW) tasks and managed by the program office data manager. Data requirements can also be identified in the contract via special contract clauses (e.g., DFARS), which define special data provisions such as rights in data, warranty, etc. SOW guidance of MIL-HDBK-245D describes the desired relationship: \"Work requirements should be specified in the SOW, and all data requirements for delivery, format, and content should be in the contract data requirements list in conjunction with the appropriate Data Item Description (DID) respectively, with none of the requirements restated in other parts of the contract.\"\n\nSubpart 215.470 of the Defense Federal Acquisition Regulation Supplement (DFARS) document requires the use of the CDRL in solicitations when the contract will require delivery of data. Guidance on how to fill in and handle DD Form 1423-1 is provided in publication 5010.12-M. Other US government agencies may include CDRLs in contracts, but these will not use the military's DD Form 1423.\n\nMost data items are developed and delivered in compliance with pre-defined data item descriptions (DID). These pre-defined data items may be tailored by deleting any part of a DID that is not applicable to the specific acquisition,. The CDRL form provides a block for simple citation of which DID it is, as well as where it is mentioned in the SOW and what part(s) of the overall work breakdown structure it is involved with. The remarks block may explain how the DID will be applied, but can not alter or add to the DID. (Language altering the data item description would obviously make it no longer a standard DID available by simple citation, pre-approved, and readily handled by existing Department of Defense processes.)\nContracts issued by governments (including their militaries) outside the US also use CDRLs as part of their statements of Work. These CDRLs do not use the US military's DD Form 1423, but may utilize some of the same elements to define their need for documentation.\n\nSee also \n Data Item Descriptions (DID)\n MIL-STD-498 Software Development standard example of DID usage\n Statement Of Work (SOW)\n\nReferences\n\nExternal links \n What is the CDRL? Source of content at Defense Acquisition University (public domain)\n Form DD1423\n Form DD1423\n 5010.12-M Procedures for the Acquisition and Management of Technical Data\n MIL-HDBK-245 -- Guide for Preparation of Statement of Work\n\nGovernment procurement in the United States\nMilitary terminology of the United States", "A quintain or pentastich is any poetic form containing five lines. Examples include the tanka, the cinquain, the quintilla, Shakespeare's Sonnet 99, and the limerick.\n\nExample \n\n Sonnet 99, the first stanza:\n\nThe forward violet thus did I chide:\nSweet thief, whence didst thou steal thy sweet that smells\nIf not from my love’s breath? The purple pride\nWhich on thy soft cheek for complexion dwells,\nIn my love’s veins thou hast too grossly dyed.\n\n --William Shakespeare\n\n Autumn Song\n\n Know'st thou not at the fall of the leaf \n How the heart feels a languid grief \n Laid on it for a covering, \n And how sleep seems a goodly thing \n In Autumn at the fall of the leaf?\n\n And how the swift beat of the brain \n Falters because it is in vain, \n In Autumn at the fall of the leaf \n Knowest thou not? and how the chief \n Of joys seems—not to suffer pain?\n\n Know'st thou not at the fall of the leaf \n How the soul feels like a dried sheaf \n Bound up at length for harvesting, \n And how death seems a comely thing \n In Autumn at the fall of the leaf?\n\n --Dante Gabriel Rossetti\n\nSee also \nMukhammas\nStanza\n\nReferences\n\nFurther reading\n\nExternal links \nThe Poet's Garret webpage. List and description of five-line poetry forms\n\nStanzaic form\nPoetic form\n\nfr:Quintil\nja:五行連" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "When did they form?", "1963,", "How did they form?", "a group of high school students started a rock and roll band in Richmond, Kentucky." ]	C_935594c417804b9087cb17615b43483f_1	Who were the original members?	3	Who were the original members of Exile?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "The Guess Who are a Canadian rock band, originating as Chad Allan and the Reflections in 1962, and adopting the name The Guess Who in 1965. They were most successful from 1968 to 1975, under the leadership of singer/keyboardist Burton Cummings. During that period they released eleven studio albums, all of which reached the charts in Canada and the United States; their 1970 album American Woman reached no. 1 in Canada and no. 9 in the United States, and five other albums reached the top ten in Canada. They also achieved five number one singles in Canada and two in the United States.\n\nThe band experienced many lineup changes. During the 1968-1975 classic era, Cummings and drummer Garry Peterson were the only consistent members; they were joined by five guitarists and two bassists during those years. Cummings ended the band in 1975 and embarked on a solo career. In the following decades, Cummings and original guitarist Randy Bachman led several one-time reunion shows or short commemorative tours with various former members.\n\nSimultaneously, original bassist Jim Kale led semi-continuous lineups on nostalgia tours with a frequently changing cast of lesser-known sidemen. On some occasions Kale departed temporarily and various entities named The Guess Who performed with no original members. Peterson appeared in both sequences of reunion tours. Kale retired in 2016, and Peterson (the final remaining original member) continues to lead a lineup of The Guess Who to the present day.\n\nThis list article does not include musicians who filled in temporarily for official members.\n\nTimelines\n\nEarly and classic era timeline\n\nTimeline of reunions and nostalgia tours\n\nLineups\n\nPre-Guess Who\n\nThe Guess Who (classic era)\n\nBachman/Cummings-led reunions\n\nKale-led and other reunions\n\nReferences\n\nThe Guess Who members", "The 2013 Big East Conference men's soccer season is the inaugural season for the newly formed offshoot of the original Big East Conference. The \"new\" Big East consists of the seven members of the original Big East that did not sponsor Division I FBS football (the so-called \"Catholic 7\"), plus invited founding members Butler, Creighton, and Xavier. The FBS schools sold the \"Big East\" name to the \"Catholic 7\" and are operating as the American Athletic Conference under the original Big East charter. Including the history of the original Big East, this will be the 18th season of men's soccer under the \"Big East\" name.\n\nThe defending champions are the Notre Dame Fighting Irish, who moved to the Atlantic Coast Conference.\n\nChanges from 2012 \n\n Butler, Creighton and Xavier were invited by the \"Catholic 7\" to become founding members of the new Big East. \n The FBS schools from the original Big East, along with several new members, are operating as the American Athletic Conference.\n\nSeason outlook\n\nTeams\n\nStadia and locations\n\nStandings\n\nTournament\n\nResults\n\nStatistics\n\nReferences \n\n \n2013 NCAA Division I men's soccer season" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "When did they form?", "1963,", "How did they form?", "a group of high school students started a rock and roll band in Richmond, Kentucky.", "Who were the original members?", "Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison." ]	C_935594c417804b9087cb17615b43483f_1	How did they choose the name Exile?	4	How did Exile choose the name Exile?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "The Roads We Choose – A Retrospective is a promo compilation album released by Chris Cornell. It spans his career as a whole, featuring songs from Temple of the Dog, Soundgarden and Audioslave, as well as material from his solo career. \"The Roads We Choose\" was a working title for the Audioslave song \"Out of Exile\". It is also a title of a bonus track on Cornell's album Carry On released few months after. A number of previously unreleased acoustic versions of songs were included, but these appear to have been recorded when Cornell was still with Audioslave/Soundgarden due to those bands being credited as the recording artists.\n\nTrack listings \n Chris Cornell - \"No Such Thing\" (from Carry On)\n Soundgarden - \"Black Hole Sun\" (from Superunknown)\n Temple of the Dog - \"Hunger Strike\" (from Temple of the Dog)\n Soundgarden - \"Outshined\" (from Badmotorfinger)\n Soundgarden - \"The Day I Tried to Live\" (from Superunknown)\n Soundgarden - \"Fell on Black Days\" (from Superunknown)\n Soundgarden - \"Spoonman\" (from Superunknown)\n Soundgarden - \"Blow Up the Outside World\" (from Down on the Upside)\n Audioslave - \"Be Yourself\" (from Out of Exile)\n Audioslave - \"Original Fire\" (acoustic)\n Audioslave - \"Show Me How to Live\" (from Audioslave)\n Chris Cornell - \"Can't Change Me\" (from Euphoria Morning)\n Temple of the Dog - \"Say Hello 2 Heaven\" (from Temple of the Dog)\n Audioslave - \"Like a Stone\" (acoustic)\n Audioslave - \"Black Hole Sun\" (acoustic) (b-side to \"You Know My Name\" by Chris Cornell, original version of song by Soundgarden)\n Chris Cornell - \"You Know My Name\" (from Carry On, originally appeared on the Casino Royale soundtrack)\n Chris Cornell - \"Arms Around Your Love\" (from Carry On)\n\n The three acoustic songs are taken from the Audioslave Clear Channel Stripped session in 2006.\n\nChris Cornell albums\n2007 compilation albums\nGrunge compilation albums\nInterscope Records compilation albums", "On February 20, 1964 the second parliamentary election for the Tibetan Parliament in Exile was held. It was the second time Tibetans in exile were able to choose their representatives. Three seats were separated specifically for women as an especial request from the Dalai Lama and the number of representatives was increased from 14 to 17. The four classic schools of Tibetan Buddhism were represented as the three historical regions of Tibet; U-Tsang, Kham and Ando.\n\nComposition\n\nReferences\n\n1964\n1964 elections in Asia" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "When did they form?", "1963,", "How did they form?", "a group of high school students started a rock and roll band in Richmond, Kentucky.", "Who were the original members?", "Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison.", "How did they choose the name Exile?", "Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959." ]	C_935594c417804b9087cb17615b43483f_1	How did they get their start?	5	How did Exile get to start?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "How Did This Get Made? is a comedy podcast on the Earwolf network hosted by Paul Scheer, June Diane Raphael, and Jason Mantzoukas.\n\nGenerally, How Did This Get Made? is released every two weeks. During the show's off-week, a \".5\" episode is uploaded featuring Scheer announcing the next week's movie, as well as challenges for the fans. In addition to the shows and mini-shows, the How Did This Get Made? stream hosted the first three episodes of Bitch Sesh, the podcast of previous guests Casey Wilson and Danielle Schneider, in December 2015. It has also hosted episodes of its own spin-off podcast, the How Did This Get Made? Origin Stories, in which Blake Harris interviews people involved with the films covered by the main show. In December 2017, an episode was recorded for the Pee Cast Blast event, and released exclusively on Stitcher Premium.\n\nEvery episode has featured Paul Scheer as the host of the podcast. The only episode to date in which Scheer hosted remotely was The Smurfs, in which he Skyped in. Raphael has taken extended breaks from the podcast for both filming commitments and maternity leave. Mantzoukas has also missed episodes due to work, but has also Skyped in for various episodes. On the occasions that neither Raphael nor Mantzoukas are available for live appearances, Scheer calls in previous fan-favorite guests for what is known as a How Did This Get Made? All-Stars episode.\n\nList of episodes\n\nMini episodes\n\nReferences\n\nExternal links \n List of How Did This Get Made? episodes\n\nHow Did This Get Made\nHow Did This Get Made", "How Did This Get Made? (HDTGM) is a podcast on the Earwolf network. It is hosted by Paul Scheer, June Diane Raphael and Jason Mantzoukas. Each episode, which typically has a different guest, features the deconstruction and mockery of outlandish and bad films.\n\nFormat\nThe hosts and guest make jokes about the films as well as attempt to unscramble plots. After discussing the film, Scheer reads \"second opinions\" in the form of five-star reviews posted online by Amazon.com users. The hosts also often make recommendations on if the film is worth watching. The show is released every two weeks.\n\nDuring the show's off week a \".5\" episode (also known as a \"minisode\") is uploaded. These episodes feature Scheer's \"explanation hopeline\" where he answers questions from fans who call in, the movie for the next week is announced, Scheer reads corrections and omissions from the message board regarding last week's episode, and he opens fan mail and provides his recommendations on books, movies, TV shows etc. that he is enjoying.\n\nSome full episodes are recorded in front of a live audience and include a question and answer session and original \"second opinion\" theme songs sung by fans. Not all content from the live shows is included in the final released episode - about 30 minutes of each live show is edited out.\n\nHistory\nHow Did This Get Made? began after Scheer and Raphael saw the movie Wall Street: Money Never Sleeps. Later, the pair talked to Mantzoukas about the movie and joked about the idea for starting a bad movie podcast. , Wall Street: Money Never Sleeps has never been covered on the podcast.\n\nAwards\nIn 2019, How Did This Get Made? won a Webby Award in the category of Podcasts – Television & Film.\n\nIn 2020, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nIn 2022, How Did This Get Made? won an iHeartRadio award in the category of Best TV & Film Podcast.\n\nSpinoffs\n\nHow Did This Get Made?: Origin Stories\nBetween February and September 2017, a 17-episode spin-off series of the podcast was released. Entitled How Did This Get Made?: Origin Stories, author Blake J. Harris would interview people involved with the movies discussed on the podcast. Guests on the show included director Mel Brooks, who served as executive producer on Solarbabies, and screenwriter Dan Gordon, who wrote Surf Ninjas.\n\nUnspooled\nIn May 2018, Scheer began a new podcast with Amy Nicholson titled Unspooled that is also devoted to movies. Unlike HDTGM?, however, Unspooled looks at films deemed good enough for the updated 2007 edition of the AFI Top 100. This is often referenced in How Did This Get Made? by Mantzoukas and Raphael, who are comically annoyed at how they were not invited to host the podcast, instead being subjected to the bad films that HDTGM covers.\n\nHow Did This Get Played?\nIn June 2019, the Earwolf network launched the podcast How Did This Get Played?, hosted by Doughboys host Nick Wiger and former Saturday Night Live writer Heather Anne Campbell. The podcast is positioned as the video game equivalent of HDTGM?, where Wiger and Campbell review widely panned video games.\n\nEpisodes\n\nAdaptation\nThe program was adapted in France in 2014 under the title 2 heures de perdues (http://www.2hdp.fr/ and available on Spotify and iTunes), a podcast in which several friends meet to analyze bad films in the same style (mainly American, French, and British films). The show then ends with a reading of comments found on AlloCiné (biggest French-speaking cinema website) or Amazon.\n\nReferences\n\nExternal links \n \n How Did This Get Made on Earwolf\n\nAudio podcasts\nEarwolf\nFilm and television podcasts\nComedy and humor podcasts\n2010 podcast debuts" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "When did they form?", "1963,", "How did they form?", "a group of high school students started a rock and roll band in Richmond, Kentucky.", "Who were the original members?", "Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison.", "How did they choose the name Exile?", "Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959.", "How did they get their start?", "When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky." ]	C_935594c417804b9087cb17615b43483f_1	Who else was part of Dick Clark Caravan Of Stars?	6	Who else was part of Dick Clark Caravan Of Stars besides Exiles?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "\"I'm Leaving It Up to You\" is a song written by and originally performed by Don Harris and Dewey Terry in 1957. It was later popularized in 1963 by the American duo Dale and Grace, who took it to #1 on the Billboard Hot 100 chart. In 1974, Donny and Marie Osmond reached the top five on the US Hot 100 chart and peaked at #1 on the Billboard Hot Adult Contemporary chart with their cover.\n\nDale and Grace version\n\"I'm Leaving It Up to You\" first became popular when recorded by the duo Dale and Grace in 1963. Their version became a #1 hit in the United States on the Billboard Hot 100 for two weeks in late 1963, replacing \"Deep Purple\" by Nino Tempo & April Stevens but ending up one position lower than that record on the 1963 end-of-the-year chart. This situation was the first time that a duet immediately succeeded another duet at the top spot.\n\nThe single also spent two weeks atop the easy listening chart. It was the #1 song on the Billboard Hot 100 chart when President John F. Kennedy was assassinated in Dallas, Texas. Dale and Grace were in Dallas on the day of the murder. The duo was scheduled to perform that night as part of Dick Clark's Caravan of Stars (with Bobby Rydell, Jimmy Clanton, and Brian Hyland) and had waved to the president's motorcade from a vantage point near their hotel, moments before the assassination. Needless to say, Dick Clark's Caravan of Stars was cancelled that night and the next night in Oklahoma.\n\nChart performance\n\nWeekly charts\n\nYear-end charts\n\nDonny and Marie Osmond version\n\nIn 1974, \"I'm Leaving It Up to You\" (released and noted as \"I'm Leaving It (All) Up to You\") again became a chart-topping hit in the US when brother and sister duo Donny and Marie Osmond covered it in September, it reached #4 on the Hot 100 and #1 on the easy listening chart. It also reached #2 in the UK. Their version became a gold record, as did the album from which the title track was taken.\n\nChart performance\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nOther versions\nA Spanish version , written by Leslie Royal and Héctor Romero of Mexican group Los Jets de Nogales, was recorded by them in 1963 as \"Decídelo tú\", and by Mexican group Yndio in 1972, under the name \"Sin tu amor\", with the song's new name used as title for Yndio's album.\n\nSee also\nList of Hot 100 number-one singles of 1963 (U.S.)\nList of number-one adult contemporary singles of 1963 (U.S.)\nList of number-one adult contemporary singles of 1974 (U.S.)\n\nReferences\n\n1957 songs\n1963 singles\n1974 singles\nDonny Osmond songs\nMarie Osmond songs\nBillboard Hot 100 number-one singles\nCashbox number-one singles", "Richard Wagstaff Clark (November 30, 1929 – April 18, 2012) was an American radio and television personality, television producer and film actor, as well as a cultural icon who remains best known for hosting American Bandstand from 1956 to 1989. He also hosted five incarnations of the Pyramid game show from 1973 to 1988 and Dick Clark's New Year's Rockin' Eve, which transmitted Times Square's New Year's Eve celebrations.\n\nAs host of American Bandstand, Clark introduced rock & roll to many Americans. The show gave many new music artists their first exposure to national audiences, including Ike & Tina Turner, Smokey Robinson and the Miracles, Stevie Wonder, Simon & Garfunkel, Iggy Pop, Prince, Talking Heads, and Madonna. Episodes he hosted were among the first in which black people and white people performed on the same stage, and they were among the first in which the live studio audience sat down together without racial segregation. Singer Paul Anka claimed that Bandstand was responsible for creating a \"youth culture\". Due to his perennially youthful appearance and his largely teenaged audience of American Bandstand, Clark was often referred to as \"America's oldest teenager\" or \"the world's oldest teenager.\"\n\nIn his off-stage roles, Clark served as chief executive officer of Dick Clark Productions company (though he sold off his financial interest in his later years). He also founded the American Bandstand Diner, a restaurant chain modeled after the Hard Rock Cafe. In 1973, he created and produced the annual American Music Awards show, similar to the Grammy Awards.\n\nEarly life\nClark was born in Bronxville, New York and raised in neighboring Mount Vernon, the second child of Richard Augustus Clark and Julia Fuller Clark, Barnard. His only sibling, elder brother Bradley, a World War II P-47 Thunderbolt pilot, was killed in the Battle of the Bulge.\n\nClark attended A.B. Davis High School (later renamed A.B. Davis Middle School) in Mount Vernon, where he was an average student. At the age of 10, Clark decided to pursue a career in radio. In pursuit of that goal, he attended Syracuse University, graduating in 1951 with a degree in advertising and a minor in radio. While at Syracuse, he was a member of Delta Kappa Epsilon fraternity (Phi Gamma).\n\nRadio and television career\nIn 1945, Clark began his career working in the mailroom at WRUN, an AM radio station in Utica, New York, that was owned by his uncle and managed by his father. Almost immediately, he was asked to fill in for the vacationing weatherman and, within a few months, he was announcing station breaks.\n\nWhile attending Syracuse, Clark worked at WOLF-AM, then a country music station. After graduation, he returned to WRUN for a short time where he went by the name Dick Clay. After that, Clark got a job at the television station WKTV in Utica, New York. His first television-hosting job was on Cactus Dick and the Santa Fe Riders, a country-music program. He later replaced Robert Earle (who later hosted the GE College Bowl) as a newscaster.\n\nIn addition to his announcing duties on radio and television, Clark owned several radio stations. From 1964 to 1978, he owned KPRO (now KFOO) in Riverside, California under the name Progress Broadcasting. In 1967, he purchased KGUD-AM-FM (now KTMS and KTYD respectively) in Santa Barbara, California.\n\nAmerican Bandstand\n\nIn 1952, Clark moved to Drexel Hill, Pennsylvania, a suburb of Philadelphia, where he took a job as a disc jockey at radio station WFIL, adopting the Dick Clark handle. WFIL had an affiliated television station (now WPVI) with the same call sign, which began broadcasting a show called Bob Horn's Bandstand in 1952. Clark was responsible for a similar program on the company's radio station and served as a regular substitute host when Horn went on vacation. In 1956, Horn was arrested for drunk driving and was subsequently dismissed. On July 9, 1956, Clark became the show's permanent host.\n\nBandstand was picked up by the ABC television network, renamed American Bandstand, and debuted nationally on August 5, 1957. The show took off, due to Clark's natural rapport with the live teenage audience and dancing participants as well as the \"clean-cut, non-threatening image\" he projected to television audiences. As a result, many parents were introduced to rock and roll music. According to Hollywood producer Michael Uslan, \"he was able to use his unparalleled communication skills to present rock 'n roll in a way that was palatable to parents.\"\n\nIn 1958, The Dick Clark Show was added to ABC's Saturday night lineup. By the end of year, viewership exceeded 20 million, and featured artists were \"virtually guaranteed\" large sales boosts after appearing. In a surprise television tribute to Clark in 1959 on This Is Your Life, host Ralph Edwards called him \"America’s youngest starmaker,\" and estimated the show had an audience of 50 million.\n\nClark moved the show from Philadelphia to Los Angeles in 1964. The move was related to the popularity of new \"surf\" groups based in southern California, including The Beach Boys and Jan and Dean. The show ran daily Monday through Friday until 1963, then weekly on Saturdays until 1988. Bandstand was briefly revived in 1989, with David Hirsch taking over hosting duties. By the time of its cancellation, the show had become the longest-running variety show in TV history.\n\nIn the 1960s, the show's emphasis changed from merely playing records to including live performers. During this period, many of the leading rock groups of the 1960s had their first exposure to nationwide audiences. A few of the many artists introduced were Ike and Tina Turner, Smokey Robinson and the Miracles, The Beach Boys, Stevie Wonder, Prince, Simon and Garfunkel, Jerry Lee Lewis, Buddy Holly, Bobby Fuller, Johnny Cash, Sam Cooke, Fats Domino and Chubby Checker.\n\nDuring an interview with Clark by Henry Schipper of Rolling Stone magazine in 1990, it was noted that \"over two-thirds of the people who've been initiated into the Rock and Roll Hall of Fame had their television debuts on American Bandstand, and the rest of them probably debuted on other shows [they] produced.\" During the show's lifetime, it featured over 10,000 live performances, many by artists who were unable to appear anywhere else on TV, as the variety shows during much of this period were \"antirock\". Schipper points out that Clark's performers were shocking to general audiences:\n\nClark was therefore considered to have a negative influence on youth and was well aware of that impression held by most adults:\n\nIn 2002, many of the groups he introduced appeared at the 50th anniversary special to celebrate American Bandstand. Clark noted during the special that American Bandstand was listed in the Guinness Book of Records as \"the longest-running variety show in TV history.\" In 2010, American Bandstand and Clark himself were honored at the Daytime Emmy Awards. Hank Ballard, who wrote \"The Twist,\" described Clark's popularity during the early years of American Bandstand:\n\nAs a result of Clark's work on Bandstand, journalist Ann Oldenburg states \"he deserves credit for doing something bigger than just putting on a show.\" Los Angeles Times writer, Geoff Boucher, goes further, stating that \"with the exception of Elvis Presley, Clark was considered by many to be the person most responsible for the bonfire spread of rock 'n roll across the country in the late 1950s,\" making Clark a \"household name.\" He became a \"primary force in legitimizing rock 'n' roll,\" adds Uslan. Clark, however, simplified his contribution:\n\nShortly after taking over, Clark also ended the show's all-white policy by featuring black artists such as Chuck Berry. In time, blacks and whites performed on the same stage, and studio seating was desegregated. Beginning in 1959 and continuing into the mid-1960s, Clark produced and hosted the Caravan of Stars, a series of concert tours built upon the success of American Bandstand, which by 1959 had a national audience of 20 million. However, Clark was unable to have the Beatles appear when they came to America.\n\nThe reason for Clark's impact on popular culture was partly explained by Paul Anka, a singer who appeared on the show early in his career: \"This was a time when there was no youth culture — he created it. And the impact of the show on people was enormous.\" In 1990, a few years after the show had been off the air, Clark considered his personal contribution to the music he helped introduce:\n\nPayola hearings\nIn 1960, the United States Senate investigated payola, the practice of music-producing companies paying broadcasting companies to favor their product. As a result, Clark's personal investments in music publishing and recording companies were considered a conflict of interest, and he sold his shares in those companies.\n\nWhen asked about some of the causes for the hearings, Clark speculated about some of the contributing factors not mentioned by the press:\n\nGame show host\n\nBeginning in late 1963, Clark branched out into hosting game shows, presiding over The Object Is. The show was cancelled in 1964 and replaced by Missing Links, which had moved from NBC. Clark took over as host, replacing Ed McMahon.\n\nClark became the first host of The $10,000 Pyramid, which premiered on CBS March 26, 1973. The show — a word-association game created and produced by daytime television producer Bob Stewart — moved to ABC in 1974. Over the coming years, the top prize changed several times (and with it the name of the show), and several primetime spinoffs were created.\n\nAs the program moved back to CBS in September 1982, Clark continued to host the daytime version through most of its history, winning three Emmy Awards for best game show host. In total, Pyramid won nine Emmy Awards for best game show during his run, a mark that is eclipsed only by the twelve won by the syndicated version of Jeopardy!. Clark's final Pyramid hosting gig, The $100,000 Pyramid, ended in 1988.\n\nClark subsequently returned to Pyramid as a guest in later incarnations. During the premiere of the John Davidson version in 1991, Clark sent a pre-recorded message wishing Davidson well in hosting the show. In 2002, Clark played as a celebrity guest for three days on the Donny Osmond version. Earlier, he was also a guest during the Bill Cullen version of The $25,000 Pyramid, which aired simultaneously with Clark's daytime version of the show.\n\nEntertainment Weekly credited Clark's \"quietly commanding presence\" as a major factor in the game show's success.\n\nClark hosted the syndicated television game show The Challengers, during its only season (1990–91). The Challengers was a co-production between the production companies of Dick Clark and Ron Greenberg. During the 1990–91 season, Clark and Greenberg also co-produced a revival of Let's Make a Deal for NBC with Bob Hilton as the host. Hilton was later replaced by original host Monty Hall. Clark later hosted Scattergories on NBC in 1993; and The Family Channel's version of It Takes Two in 1997. In 1999, along with Bob Boden, he was one of the executive producers of Fox's TV game show Greed, which ran from November 5, 1999, to July 14, 2000, and was hosted by Chuck Woolery. At the same time, Clark also hosted the Stone-Stanley-created Winning Lines, which ran for six weeks on CBS from January 8 through February 12, 2000.\n\nDick Clark's New Year's Rockin' Eve\n\nIn 1972, Dick Clark first produced New Year's Rockin' Eve, a New Year's Eve music special for NBC which included coverage of the ball drop festivities in New York City. Clark aimed to challenge the dominance of Guy Lombardo's New Year's specials on CBS, as he believed its big band music skewed too old. After two years on NBC, and being hosted by Three Dog Night and George Carlin respectively, the program moved to ABC and Clark assumed hosting duties. Following Lombardo's death in 1977, Rockin' Eve experienced a surge in popularity and later became the most watched annual New Year's Eve broadcast. Clark also served as a special correspondent for ABC News's ABC 2000 broadcast, covering the arrival of 2000.\n\nFollowing his stroke (which prevented him from appearing at all on the 2004–05 edition), Clark returned to make brief appearances on the 2005–06 edition while ceding the majority of hosting duties to Ryan Seacrest. Reaction to Clark's appearance was mixed. While some TV critics (including Tom Shales of The Washington Post, in an interview with the CBS Radio Network) felt that he was not in good enough shape to do the broadcast, stroke survivors and many of Clark's fans praised him for being a role model for people dealing with post-stroke recovery. Seacrest remained host and an executive producer of the special, taking over full duties after Clark's death.\n\nRadio programs\nClark's first love was radio and, in 1963, he began hosting a radio program called The Dick Clark Radio Show. It was produced by Mars Broadcasting of Stamford. Despite Clark's enormous popularity on American Bandstand, the show was only picked up by a few dozen stations and lasted less than a year.\n\nOn March 25, 1972, Clark hosted American Top 40, filling in for Casey Kasem. In 1981, he created The Dick Clark National Music Survey for the Mutual Broadcasting System. The program counted down the top 30 contemporary hits of the week in direct competition with American Top 40. Clark left Mutual in October 1985, and Bill St. James (and later Charlie Tuna) took over the National Music Survey. Clark's United Stations purchased RKO Radio Network in 1985 and, when Clark left Mutual, he began hosting USRN's \"Countdown America\" which continued until 1995.\n\nIn 1982, Clark launched his own radio syndication group with partners Nick Verbitsky and Ed Salamon called the United Stations Radio Network. That company later merged with the Transtar Network to become Unistar. In 1994, Unistar was sold to Westwood One Radio. The following year, Clark and Verbitsky started over with a new version of the USRN, bringing into the fold Dick Clark's Rock, Roll & Remember, written and produced by Pam Miller (who also came up with the line used in the show and later around the world: \"the soundtrack of our lives\"), and a new countdown show: The U.S. Music Survey, produced by Jim Zoller. Clark served as its host until his 2004 stroke. United Stations Radio Networks continues in operation as of 2020.\n\nDick Clark's longest-running radio show began on February 14, 1982. Dick Clark's Rock, Roll & Remember was a four-hour oldies show named after Clark's 1976 autobiography. The first year, it was hosted by veteran Los Angeles disc jockey Gene Weed. Then in 1983, voiceover talent Mark Elliot co-hosted with Clark. By 1985, Clark hosted the entire show. Pam Miller wrote the program and Frank Furino served as producer. Each week, Clark profiled a different artist from the rock and roll era and counted down the top four songs that week from a certain year in the 1950s, 1960s or early 1970s. The show ended production when Clark suffered his 2004 stroke. Reruns from the 1995–2004 era continued to air in syndication until USRN withdrew the show in 2020.\n\nOther television programs\n\nAt the peak of his American Bandstand fame, Clark also hosted a 30-minute Saturday night program called The Dick Clark Show (aka The Dick Clark Saturday Night Beech-Nut Show). It aired from February 15, 1958, until September 10, 1960, on the ABC television network. It was broadcast live from the \"Little Theater\" in New York City and was sponsored by Beech-Nut gum. It featured the rock and roll stars of the day lip-synching their hits, just as on American Bandstand. However, unlike the afternoon Bandstand program, which focused on the dance floor with the teenage audience demonstrating the latest dance steps, the audience of The Dick Clark Show sat in a traditional theater setting. While some of the musical numbers were presented simply, others were major production numbers. The high point of the show was Clark's unveiling, with great fanfare at the end of each program, of the top ten records of the previous week. This ritual became so embedded in American culture that it was imitated in many media and contexts, which in turn were satirized nightly by David Letterman on his own Top Ten lists.\n\nFrom September 27 to December 20, 1959, Clark hosted a 30-minute weekly talent/variety series entitled Dick Clark's World of Talent at 10:30 p.m. Sundays on ABC. A variation of producer Irving Mansfield's earlier CBS series, This Is Show Business (1949–1956), it featured three celebrity panelists, including comedian Jack E. Leonard, judging and offering advice to amateur and semi-professional performers. While this show was not a success during its nearly three-month duration, Clark was one of the few personalities in television history on the air nationwide seven days a week.\n\nOne of Clark's best-known guest appearances was in the final episode (\"The Case of the Final Fade-Out\") of the original Perry Mason TV series, in which Clark was revealed to be the killer of an egomaniacal actor during the production of a television show. He appeared as a drag-racing-strip owner in a 1973 episode of the procedural drama series Adam-12.\n\nClark's most humorous appearance was on an episode (\"Testimony of Evil\") of Police Squad! in which he asks an informant about ska and borrows his skin cream to keep himself looking young, a parody of the fact that Clark was known for his perennial youthful appearance.\n\nClark attempted to branch into the realm of soul music with the series Soul Unlimited in 1973. The series, hosted by Buster Jones, was a more risqué and controversial imitator of the popular series Soul Train and alternated in the Bandstand time slot. The series lasted for only a few episodes. Despite a feud between Clark and Soul Train creator and host Don Cornelius, the two men later collaborated on several specials featuring black artists.\n\nClark hosted the short-lived Dick Clark's Live Wednesday in 1978 for NBC. In 1980, Clark served as host of the short-lived series The Big Show, an unsuccessful attempt by NBC to revive the variety show format of the 1950s/60s. In 1984, Clark produced and hosted the NBC series TV's Bloopers & Practical Jokes with co-host Ed McMahon. Clark and McMahon were longtime Philadelphia acquaintances, and McMahon praised Clark for first bringing him together with future TV partner Johnny Carson when all three worked at ABC in the late 1950s. The Bloopers franchise stemmed from the Clark-hosted (and produced) NBC Bloopers specials of the early 1980s, inspired by the books, record albums and appearances of Kermit Schafer, a radio and TV producer who first popularized outtakes of broadcasts. For a period of several years in the 1980s, Clark simultaneously hosted regular programs on all three major American television networks – ABC (Bandstand), CBS (Pyramid), and NBC (Bloopers).\n\nIn July 1985, Clark hosted the ABC primetime portion of the historic Live Aid concert, an all star concert designed by Bob Geldof to end world hunger. During the 1988 Writers Guild of America strike, Clark (as host and producer) filled in a void on CBS' fall schedule with Live! Dick Clark Presents.\n\nClark also hosted various pageants from 1988 to 1993 on CBS. He did a brief stint as announcer on The Jon Stewart Show in 1995. Two years later, he hosted the Pennsylvania Lottery 25th Anniversary Game Show special with then-Miss Pennsylvania Gigi Gordon for Jonathan Goodson Productions. He also created and hosted two Fox television specials in 2000 called Challenge of the Child Geniuses, the last game show he hosted.\n\nFrom 2001 to 2003, Clark was a co-host of The Other Half with Mario Lopez, Danny Bonaduce and Dorian Gregory, a syndicated daytime talk show intended to be the male equivalent of The View. Clark also produced the television series American Dreams about a Philadelphia family in the early 1960s whose daughter is a regular on American Bandstand. The series ran from 2002 to 2005.\n\nOther media appearances\nClark wrote, produced and starred in the 1968 film Killers Three, a Western drama that served as a promotional vehicle for Bakersfield country musicians Merle Haggard and Bonnie Owens.\n\nClark also appears in interview segments of another 2002 film, Confessions of a Dangerous Mind, which was based on the \"unauthorized autobiography\" of Chuck Barris. (Barris had worked at ABC as a standards-and-practices executive during American Bandstand run on that network.)\n\nIn the 2002 Dharma and Greg episode \"Mission: Implausible\", Greg is the victim of a college prank, and he devises an elaborate plan to retaliate, part of which involves his use of a disguise kit; the first disguise chosen is that of Dick Clark. During a fantasy sequence that portrays the unfolding of the plan, the real Clark plays Greg wearing his disguise.\n\nHe also made brief cameos in two episodes of The Fresh Prince of Bel-Air. In one episode he plays himself at a Philadelphia diner, and in the other he helps Will Smith's character host bloopers from past episodes of that sitcom.\n\nBusiness ventures\n\nIn 1965, Clark branched out from hosting, producing Where The Action Is, an afternoon television program shot at different locations every week featuring house band Paul Revere and the Raiders. In 1973, Clark began producing the highly-successful American Music Awards. In 1987, Dick Clark Productions went public. Clark remained active in television and movie production into the 1990s.\n\nClark had a stake in a chain of music-themed restaurants licensed under the names \"Dick Clark's American Bandstand Grill\", \"Dick Clark's AB Grill\", \"Dick Clark's Bandstand — Food, Spirits & Fun\" and \"Dick Clark's AB Diner\". There are currently two airport locations in Newark, New Jersey and Phoenix, Arizona, one location in the Molly Pitcher travel plaza on the New Jersey Turnpike in Cranbury, New Jersey, and one location at \"Dick Clark's American Bandstand Theater\" in Branson, Missouri. Until recently, Salt Lake City, Utah had an airport location.\n\n\"Dick Clark's American Bandstand Theater\" opened in Branson in April 2006, and nine months later, a new theater and restaurant entitled \"Dick Clark's American Bandstand Music Complex\" opened near Dolly Parton's Dollywood theme park in Pigeon Forge, Tennessee.\n\nFrom 1979 to 1980, Clark reportedly owned the former Westchester Premier Theatre in Greenburgh, New York, renaming it the Dick Clark Westchester Theatre.\n\nPersonal life\nClark was the son of Richard A. Clark, who managed WRUN radio in Utica, New York.\n\nHe was married three times. His first marriage was to Barbara Mallery in 1952; the couple had one son, Richard A. Clark, and divorced in 1961. He married Loretta Martin in 1962; the couple had two children, Duane and Cindy, and divorced in 1971. His third marriage, to Kari Wigton, whom he married in 1977, lasted until his death. He also had three grandchildren.\n\nIllness and death\nDuring an interview on Larry King Live in April 2004, Clark revealed that he had type 2 diabetes. His death certificate noted that Clark had coronary artery disease at the time of his death.\n\nIn December 2004, the 75-year-old Clark was hospitalized in Los Angeles after suffering what was initially termed a minor stroke. Although he was expected to be fine, it was later announced that Clark would be unable to host his annual New Year's Rockin' Eve broadcast, with Regis Philbin filling in for him. Clark returned to the series the following year, but the dysarthria that resulted from the stroke rendered him unable to speak clearly for the remainder of his life.\n\nOn April 18, 2012, Clark died from a heart attack at a hospital in Santa Monica, California, aged 82, shortly after undergoing a transurethral resection procedure to treat an enlarged prostate. He was cremated on April 20, and his ashes were scattered in the Pacific Ocean.\n\nLegacy\nFollowing Clark's death, longtime friend and House Rules Committee Chairman David Dreier eulogized Clark on the floor of the U.S. Congress. President Barack Obama praised Clark's career: \"With American Bandstand, he introduced decades' worth of viewers to the music of our times. He reshaped the television landscape forever as a creative and innovative producer. And, of course, for 40 years, we welcomed him into our homes to ring in the New Year.\" Motown founder Berry Gordy and singer Diana Ross spoke of Clark's impact on the recording industry: \"Dick was always there for me and Motown, even before there was a Motown. He was an entrepreneur, a visionary and a major force in changing pop culture and ultimately influencing integration,\" Gordy said. \"He presented Motown and the Supremes on tour with the \"Caravan of Stars\" and on American Bandstand, where I got my start,\" Ross said.\n\nCredits\n\nFilmography\n\n Jamboree (1957) – Himself\n Because They're Young (1960) – Neil Hendry\n The Young Doctors (1961) – Dr. Alexander\n Killers Three (1968) – Roger\n The Phynx (1970) – Himself\n Spy Kids (2001) – Financier\n Bowling For Columbine (2002) – Himself (Documentary)\n\nTelevision\n\n ABC 2000 Today – Times Square correspondent\n Adam-12 (1972) – as drag strip owner Mr. J. Benson in the season 4 episode \"Who Won?\"\n American Bandstand – host\n Branded - guest-starred as J.A. Bailey in season 2 episode \"The Greatest Coward on Earth\"\n Burke's Law - as Peter Barrows, the son of a murdered financier in season 1 episode \"Who Killed What His Name?\"\n The Challengers – host\n Futurama - himself (as a head in a jar), season 1, episode 1, \"Space Pilot 3000\"\n Happening (1968–69) – producer\n It Takes Two (1997) – host\n The Krypton Factor (1981) – host\n Lassie (1966) – as J.H. Alpert in the episode \"The Untamed Land\"\n Missing Links (1964) – host\n Miss Teen USA (1988, 1991–1993) – host\n Miss Universe (1990–1993) – host\n Miss USA (1989–1993) – host\n New Year's Rockin' Eve (1972–2004) – host, (2006–2012) – co-host, producer\n Perry Mason, (1966) Season 9, episode 30, \"The Case of the Final Fadeout\"\n The Object Is (1963–1964) – host\n The Partridge Family, guest star, season 1, episode 13, Star Quality\n Pyramid – host (1973–1988), guest (The $25,000 Pyramid, 1970s; Pyramid, 2002)\n The Saturday Night Beech-Nut Show (1958–1960) – host\n Scattergories – host\n Stoney Burke (1963) – Sgt. Andy Kincaid in the episode \"Kincaid\"\n TV's Bloopers & Practical Jokes – co-host, producer\n Where the Action Is (1965–67) – host\n Police Squad! - himself, episode Testimony of Evil (Dead Men Don't Laugh)\n Winning Lines – host\n The Fresh Prince of Bel-Air – himself (two episodes)\n\nAlbums\n Dick Clark, 20 Years of Rock N’ Roll (Buddah Records) (1973)\n Rock, Roll & Remember, Vol. 1,2,3 (CSP) (1983)\n Dick Clark Presents Radio's Uncensored Bloopers (Atlantic) (1984)\n\nHonors and awards\n\nClark received the following awards:\n Emmy Awards (1979, 1983, 1985, and 1986)\n Broadcast Pioneers of Philadelphia Person of the Year (1980)\n Daytime Emmy Lifetime Achievement Award (1994)\n Peabody Award (1999)\n Hollywood Walk of Fame (1976)\n National Radio Hall of Fame (1990)\n Broadcasting Magazine Hall of Fame (1992)\n Broadcast Pioneers of Philadelphia Hall of Fame (1992)\n Television Hall of Fame (1992)\n Rock and Roll Hall of Fame (1993)\n Disney Legends (2013)\n\nReferences\n\nExternal links\n\n Dick Clark's personal/radio web site\n Dick Clark Productions\n Dick Clark Papers at Syracuse University\n \n \n \n \n \n \n Dick Clark's Rock, Roll and Remember newspaper comic strip series\n Dick Clark interviewed on the Pop Chronicles (recorded March 11, 1968)\n \n Broadcast Pioneers of Philadelphia web page\n \n FBI file on Dick Clark\n Reuters review of 2008 documentary The Wages of Spin \n\n1929 births\n2012 deaths\n20th-century American businesspeople\n21st-century American businesspeople\nActors from Mount Vernon, New York\nAmerican chief executives in the media industry\nAmerican company founders\nAmerican game show hosts\nAmerican radio personalities\nAmerican restaurateurs\nAmerican television hosts\nBusinesspeople from New York (state)\nCulture of Philadelphia\nDaytime Emmy Award for Outstanding Game Show Host winners\nDeaths from coronary artery disease\nPeabody Award winners\nPeople from Bronxville, New York\nPeople from Drexel Hill, Pennsylvania\nPeople with Parkinson's disease\nPeople with type 2 diabetes\nS. I. Newhouse School of Public Communications alumni\nTelevision producers from New York (state)" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "When did they form?", "1963,", "How did they form?", "a group of high school students started a rock and roll band in Richmond, Kentucky.", "Who were the original members?", "Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison.", "How did they choose the name Exile?", "Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959.", "How did they get their start?", "When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky.", "Who else was part of Dick Clark Caravan Of Stars?", "Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others." ]	C_935594c417804b9087cb17615b43483f_1	Are there any other interesting aspects about this article?	7	Are there any other interesting aspects about this article besides touring with Dick Clark Caravan of Stars?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond.	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "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" ]
[ "Exile (American band)", "1960s - Early rock and roll years", "When did they form?", "1963,", "How did they form?", "a group of high school students started a rock and roll band in Richmond, Kentucky.", "Who were the original members?", "Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison.", "How did they choose the name Exile?", "Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959.", "How did they get their start?", "When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky.", "Who else was part of Dick Clark Caravan Of Stars?", "Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others.", "Are there any other interesting aspects about this article?", "In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond." ]	C_935594c417804b9087cb17615b43483f_1	What was the name of that album?	8	What was the name of Exiles' first record?	Exile (American band)	In 1963, a group of high school students started a rock and roll band in Richmond, Kentucky. They called themselves the Exiles. Those original Richmond Exiles were Jimmy Stokley, Ronnie 'Mack' Davenport, Paul Smith, Mike Howard, Billy Luxon, J.P. Pennington, and Buzz Cornelison. Richmond native Danny Williams was also a member in the 1960s. Their chosen name may have resulted from the influx of Cubans into the United States after the Fidel Castro takeover in 1959. According to original Exile Pennington, "There were a lot of Cuban exiles coming across...the word was in the news and we felt we were also somewhat ostracized from the local society. We had long hair back then..." Most of the Exiles were students at Madison Central and Madison High School in Richmond when the band formed and played together from 1963 to 1965. They were an offshoot of Ronnie (Hall) and the Fascinations. They were briefly known in those early years as Jimmy Stokley and the Exiles. Stokley (18 October 1943 - 13 August 1985) was the lead singer of the group and continued in that capacity until 1979. It is Stokley's lead voice that is prominent on Exile's 1978 Billboard pop music chart-topper, "Kiss You All Over". When the Dick Clark Caravan Of Stars hit the road in 1965, they picked up the Exiles to perform on several dates in and around Kentucky. They continued touring nationally with the Caravan of Stars through to 1968; opening the show and providing back-up for headlining stars like Freddy Cannon, B. J. Thomas, Paul Revere and the Raiders and others. In the early 1960s the Exiles recorded their first record in the studios of WEKY Radio Station in Richmond. Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On". The recording was produced by WEKY Radio DJ" Jimmy K" (Kincer) on his own record label "JIMBO Records". In the late 1960s, they recorded for both Date Records and Columbia Records, and in the early 1970s for SSS International, Date, Curb and Wooden Nickel record labels. With the help of Cecil Jones of Lemco Sound Studios in Lexington, the Exiles developed and polished their sound. The band scored regional hits such as "Devil's Bite" and "Church Street Soul Revival" (written and produced by Tommy James). CANNOTANSWER	Side one was named "The Answer to Her Prayers" written by Paul Smith, Jr. and the back side was called "Come On".	Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days. Career Early years The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees. After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977. Late 1970s pop success In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman. The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979. Transition to country music Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100. At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association. Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry. Reformation After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016. Discography Studio albums Exile (1973) Stage Pass (1978) Mixed Emotions (1978) All There Is (1979) Don't Leave Me This Way / Keeping It Country (1980) Heart and Soul (1981) Exile (1983) Kentucky Hearts (1984) Hang On to Your Heart (1985) Shelter from the Night (1987) Still Standing (1990) Justice (1991) Wrapped Up In Your Arms for Christmas (2016) References Bibliography Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing. Randy Westbrook, 50 Years of Exile (2013), Acclaim Press. External links American country rock groups American soft rock music groups Arista Nashville artists Musical groups established in 1963 Rock music groups from Kentucky Warner Records artists 1963 establishments in Kentucky Epic Records artists Country music groups from Kentucky	false	[ "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", "Third Eye Open is a 1992 album by American funk/rock supergroup Hardware. Hardware consists of lead guitarist Stevie Salas, P-Funk bassist Bootsy Collins, and drummer Buddy Miles, formerly of the Band of Gypsys. The album was produced by Bill Laswell and Salas, and was the first release to be part of Laswell's Black Arc Series, which includes Lord of the Harvest by Zillatron, Out of the Dark by O.G. Funk, and Under the 6 by Slave Master.\n\nAlbum history\nWhen the album was first released in Japan on the Polystar label, the band was called The Third Eye and the name of the album was \"Hardware\". When the album secured distribution in the U.S., it was found that another band had owned the name \"The Third Eye\". To avoid any further legal hassles, it was opted that the title of the album and the name of band would simply be switched, thus the name of the band would be Hardware and the title of the album became Third Eye Open.\n\nThe song \"Leakin'\" is a version of a track that appeared on Collins' 1988 album What's Bootsy Doin'?, which featured Salas playing guitar. On this album, the song is credited to Salas, whereas the previous version is credited to Collins, George Clinton and Trey Stone.\n\nTrack listing\n\nPersonnel\nStevie Salas – guitars, vocals\nBootsy Collins – space bass, vocals\nBuddy Miles – drums, fuzz bass, vocals\nGeorge Clinton, Gary \"Mudbone\" Cooper, Bernard Fowler – background vocals\nDavid Friendly, Vince McClean, Matt Stein – digital bollocks\n\nHardware (band) albums\n1992 albums\nAlbums produced by Bill Laswell\nRykodisc albums" ]

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